Hellraiser: Hellfury
by navydave32
Summary: While the box navigates where it wants, once in a while, it is intercepted and redirected. When this occurs, Pinhead takes specific interest.


Non Disclosure Agreement

**By accepting and reading this story, you agree to the terms that you will not disclose this story to anyone without permission from the author. This is a story original to a David C. Walsh and cannot be changed in any way or be openly distributed without the permission of the author (see below for distribution). The name Hellraiser: Hellfury has been copyrighted to the author for a while now, and original characters are protected under copyright as well.**

Everything else Hellraiser is the property of Clive Barker (or whoever owns the rights now). The only thing I own and influence here is this story. I greatly appreciate the world Clive made for us. It's pretty damn cool.

**Distribution:**

I ask you to please alert me if you want to pass this script to another party. If you would like to pass it on to someone else, _just ask_, and I will likely give you a thumbs up! I really do want to make this movie in a few years when I get back to school, when I don't have to worry about this whole Navy thing 24/7 anymore. The reserves will be nice. If you have any questions, suggestions, anything to point out with continuity or factual consistencies, or any questions, please contact me at walshbb64 . I would love to get outside feedback, and I will get back to you. Contact me personally for snail mail address.

I understand the above and will be nice by following it.

Signature Date

HELLRAISER: HELLFURY

Screenplay by:

David "Snake" Walsh

Note:

The story here is 73 pages now. I believe that is as long as it will get. That will be the extent of the expansion of this script. I have scenes in here that can be cut, such as when Clayton goes over and gives Jason a quick lecture on leadership and the desert scene between Stake and Jason. I really hope the desert scene can be saved. I think the biggest challenge with the desert sequence will be actually getting to a desert and getting military vehicles to use.

As of 1AUG05, I am terminating all new scenes. I will add only a few things here and there in the next few days in order to incorporate the sphere lament configuration. This is in an effort to not over-cook this script. It has become a very "healthy" story, in my opinion, having read it for the first time in over six months. The next step is to add scene numbers and make it into a shooting script! I hoped to make a Hellraiser story that had not been done yet, a different challenge for Pinhead to mull over. Enjoy.

V. 3.2 30JUL05 – addition - Pyramid box, since I can get my hands on one, it's in.

V. 3.3 01AUG05 – addition – The Sphere – same as above, and I make it almost a security feature against unwanted solving, an element of security for its guaranteed delivery to the intended target.

V. 3.4 04AUG05 – addition – Hopefully straightening out how the sphere would be used!

V. 3.5 07AUG05 – review – As the subtext says, I have run through to make sure this file is consistent enough to be preserved in a .pdf file. I think it is.

V. 3.6 22AUG05 – change – Kirsty Cotton's relation to Clayton has been changed from step sister to "mentor."

V. 3.7 27AUG05 – addition – another box addition, the box that has turning edges is one of the stages JASON has to go through to finally solve the box.

V. 3.8 29AUG05 – addition – I finally added the connection of Dr. Bradford to the investigation into Detective Joseph Thorn's death in the hotel room in an effort to almost add an epilogue to _Inferno_.

V. 3.9 29AUG05 – addition – The scene numbers are for the first time added to the text.

Title Credit sequence:

Title music slightly altered. We use an intense drum section from Track 2 from the score as either the Dimension or Miramax Logo comes in. As that 10 or so seconds end, it is followed by the main title, Track 1, the main theme from _Inferno_. A black environment is illuminated by a flicker of light as if a candle is being passed over a piece of curled parchment on a wooden table. To the untrained eye, it has some neat design on it. To us, however, we see that it is a diagram of the Lament Configuration. The light passes over leaving us back in darkness. The red lettering reads: "Miramax Pictures Owns"

Black screen comes back up as another light passes over, as if a candle showing another piece of parchment similar to the one we saw only a second earlier, but it is slightly different. The red lettering fades back up reading: "this caliber Production" as the light shows the parchment, then back to black.

Black screen comes back up again showing another piece of parchment with "Musical Score Composed by Christopher Young Walter Werzowa Steven Edwards and assembled by Patroclus Savage". This takes place with the several pieces of parchment showing the designs of the box and the instructions of how to open it. The third to last one, the title is presented, "Hellraiser Hellfury." Finally, the final piece of parchment is that of the box solved with several pieces of flesh and a splatter of blood across the side of the page. Amongst the gore is the box sitting on the edge of the paper. The camera orbits the piece as long as the intense choir sequence of the title track wraps up. The light fades back out as the music concludes.

1\. EXT. STREET SIDEWALK/SMITHVILLE SHOOT - DAY

Open - Looking up at the underside of the canopy of a covered sidewalk, we hear the slow incursion of Metallica's rendition of "Die, Die, Die, My Darlin'." The volume steady raises and levels off as the rear of a backward-ball cap topped head enters the left side of the picture. It walks a little faster than the steady camera as it moves forward along this sidewalk. The camera stays with the shot as the figure comes to a stop and looks over to his left. He turns into a concrete alcove, and we follow into a recessed area leading to a set of double doors. It is an antique store. He steps forward, pulls the door open and steps in. As the door swings closed, we see the door says: LEVIATHAN'S CREATIONS

He enters the antique shop at the 10 o'clock to the camera inside the shop. There is stuff everywhere. He briefly looks around as he shuts the door. He is obviously a punk rocker with the doctored motorcycle jacket. He is CLAYTON. As CLAYTON flies by, we see the has the tail of a red mohawk trailing out from under the bill of his backward ball cap.

CLAYTON proceeds to walk around looking at all the things. He moves from table to table when he comes across a buffet on which was a _small mirror_. He steps in front of the right hand side of the camera, the back of his head shown. From mirror, we see the reflection a cenobite chest piece step into view from behind. Clayton's head moves to look at the mirror slightly before whipping around. He assumes a defensive posture to see a man with a coat of sorts on, long hair, raggedy of sorts standing before him. It is PINHEAD's cover form, of course.

PINHEAD

What's your pleasure, sir?

CLAYTON loosens up a bit and shakes his head.

CLAYTON

Oh, damn, man, I'm sorry.

He furrows his brow and thinks. He gets his mind back on track.

CLAYTON (cont'd)

I've had a rough week at school. Umm,

CLAYTON whips his head back up.

Oh, yeah. Okay, do you have any small collectibles, really old pieces of jewelry, um, small antiques, or maybe some World War One stuff? I'm looking for a gift.

PINHEAD stands tall and true. His eyes are narrow as if he owns the place.

PINHEAD

You would like an antique with a special meaning?

CLAYTON

Yeah, something that will be special. See, a female friend of mine is really into old stuff, especially from around the first World War for some reason.

PINHEAD

Maybe she knew someone from that time.

He has narrow, drilling eyes.

CLAYTON

Yeah, Kirsty's got a picture of a soldier, but never talks about him much. I think she said his name was Spencer or something.

PINHEAD

Does she, now?

(beat as Pinhead recoils his head a bit.)

Perhaps it was during a traumatic time for her.

CLAYTON

Yeah, I think her uncle went wacko on her a while ago.

PINHEAD

He got what was due to him, I guarantee.

Still, the narrow drilling eyes unmoving, staying locked into CLAYTON's. Clayton shakes his head a bit.

CLAYTON

Yeah, Kirsty is pretty open about a lot, but when it comes to her dad and uncle, she doesn't say much.

(beat. He shakes his head)

Sorry, Kirsty was my mentor when I was younger. She really helped me out a lot when I was a kid. Ever since then, she's been like a part of my family.

PINHEAD

She's quite the woman, I see.

(beat)

I think we have something in which you might be interested.

We float along with a continued shot as PINHEAD moves along smoothly and swiftly with CLAYTON in close pursuit. They come to a table.

PINHEAD

And here we are.

Before we look at the table, we have a shot from behind the table, going upward, looking at CLAYTON from behind the table, the katana obscuring the view for a second. We do a camera sweep from behind JASON to get a nice view of the table. PINHEAD moves over to the side of the table. There are a number of things on it. Included in this is a long, baton sword. CLAYTON looks at it. Clayton flies his finger tips over the blade which is inscribed "Alles für Deutfchland." He moves his hand to a piece of paper on the table. It says _Kragdovwye No 16._ JASON runs his fingers over it. He picks up an old, weathered booklet and flips through the pages to a page with Hellboy's right hand of ass beatage on it.

PINHEAD

I believe this maybe what you're looking for.

CLAYTON's attention is diverted over toward a glass counter behind which PINHEAD is standing. Pinhead's human facade brings his hands up with an ornate sphere in them. We hear faint box music from one of the Hellraisers, maybe _Inferno_.

PINHEAD (cont'd)

This piece is an antique from the Twelfth Century. It and some seven-hundred twenty-one were constructed by the masterous toy maker Phillip LeMerchand.

PINHEAD places it on the table top.

This particular piece came from the personal collection of a Doctor Channard. He believed it to be an exotic find, but in reality, it was merely another form of what he already had.

Pinhead waves his hand in front of it, and it turns into the box.

It is said to have mystical powers, to bring untold pleasures to the flesh.

CLAYTON reaches for the box but stops himself midway and looks to who we know to be PINHEAD.

CLAYTON

May I?

PINHEAD

Most certainly.

CLAYTON moves for the box and picks it up. He brings it up and looks closely at it.

CLAYTON brings the box in closer for a nice camera close-up. We hear some of the box chiming as he rotates it over and over, looking at all of its faces. We have a little look back at his face.

CLAYTON

So, uh,

(beat)

if this thing is so special, then why can I buy it here? Why isn't it like in a museum somewhere?

PINHEAD

Oh, there are plenty in museums, but such items are not the most sought after. They are meant for specific people and specific people only.

CLAYTON

So I am a specific person?

PINHEAD

Perhaps.

(beat)

or perhaps someone close to you.

CLAYTON resumes looking at the box.

PINHEAD

What do you think, my young friend?

CLAYTON

Well, it's not bad. I think this'll do it. How much do you want for it?

PINHEAD

For you, my young friend, it is free.

CLAYTON

No, no.

PINHEAD

It is my gift to you. Perhaps it can ease your mentor's feelings.

CLAYTON reaches his hand out for a handshake, and PINHEAD reciprocates. CLAYTON notices PINHEAD's grip is icy.

PINHEAD

Then we have an accord.

Pinhead lightly snaps his fingers, and the box is again the sphere.

CLAYTON

Wow, how did you do that?

PINHEAD

It is a puzzle, CLAYTON.

(beat)

Perhaps Kirsty will be able to solve it.

(beat)

The box is yours.

CLAYTON

Thanks, man. Do you have a card? I think I may want to come back here and get some more stuff from that table some time.

PINHEAD

Absolutely.

A card seemingly appears in PINHEAD's hand. CLAYTON takes it and it reads XIPE TOTEC, OWNER LEVIATHAN'S CREATIONS. He flips the card back over, and it says ALL PROBLEMS SOLVED, just like the one in Hellseeker.

CLAYTON

Thanks.

CLAYTON gives him a quick nod before he begins for the door.

PINHEAD

The pleasure is all mine.

CLAYTON gave a quick nod and walked to the door. As he examines the box, a trench coat clad man about his height wearing a pair of sunglasses collides shoulders with him.

CLAYTON

Oh, sorry, man,

CLAYTON makes a minor glance back. He leaves. The door shuts with a cool ethereal sound, hopefully as outside light is shut away, making it sound like the earthly world is closed off, leaving them strictly in the disguised realm of the CENOBITES. The trench coat clad man stepped up behind the man and assumed a position to the taller man's side.

STAKE CENOBITE

It is underway.

PINHEAD

Indeed.

(beat)

Kirsty is almost to the end of her journey.

2\. INT. CLAYTON'S ROOM/DORM ROOM - DAY

CLOSE UP on the sphere in a pair of hands, rotating about as it's being examined. We cut back and forth between CLAYTON and the sphere.

ROOMMATE

(from behind his computer monitor)

Hey, is that what you got for your friend?

CLAYTON

Yeah. It ain't bad.

ROOMMATE

Looks cool. What is it?

(beat as he props his elbows on his knees)

Where did you get it?

CLAYTON holds it with both hands and places his fingers on the little gold circles on its surfaces.

CLAYTON

I got from a weird guy in an antique shop. He said it was a puzzle.

(beat as he begins to play with it)

I think she'll like it.

(beat)

He got it to turn into a box. It was really cool.

CLAYTON starts to orient his fingers on the sphere but then he stops.

CLAYTON

But anyway,

CLAYTON puts it in his drawer.

CLAYTON(cont'd)

I think she'll like it.

3\. INT. JASON'S ROOM/DORM ROOM - DAY

We see a guy from the back at an angle. We see his left leg up on the desk viewing up on the left side. We can see everything but his face as he fills out a report.

SHIFT to a close view of the report he fills with relatively messy handwriting. We can hear him filling out the form. We pan across his desk, seeing all sorts of puzzles of one kind or another (rubix cube, three dimensional wooden puzzles, etc).

ZOOM IN ON FORM. It reads CLAYTON NEWTON and the various infractions made by him. As he nears the end of the report, he glances at his watch. We do a tight zoom seeing that it is nearing 2:30 by mere seconds. He places the clip board down on his desk. He gets up in the same camera shot and turns with circular camera work leaving his face masked.

FIRE ALARM GOES OFF.

He opens the door, exposing the sign RESIDENT ADVISOR on his its front. He sticks the key in his door and begins to pull it closed. Behind him, however, we see CLAYTON from earlier come out of the room across from JASON, double take at him, and emphatically give him the old two-finger salute before he leaves.

CLOSE UP on the key being turned, locking the door. We pull back exposing JASON's face, fully introducing the character now. He puts the key in his pocket and walks out.

4\. EXT – HAЯT HALL - DAY

JASON blows out of the door to the exterior area, the "Pit," as people begin pouring out of the structure. JASON walks past the camera in a fly-by, and the camera follows him all the way over to a group of people looking like RA's. He walks to the gathering and stands next to a taller one. The flow of people eventually trickles down to a few coming out over a minute or two. They watch the last of the people from JASON's ramp step out.

RANDOM RA

Takes your boys long enough, man. They could have ripped your room to shreds by now.

JASON

I don't know about you, Elliot, but I always lock my room.

JASON holds up his personal key chain and dangled it with a particular cockiness, showing us he's a real asshole.

JOSH

Yeah, well, you'd better.

JOSH says after a haunting look at JASON.

JASON walks the length back, we catch back up with a cut as he approaches CLAYTON. CLAYTON and his buddies give him a pretty ignored look, but CLAYTON holds an eye lock.

CLOSE UP ON CLAYTON as he pulls a drag from his cigarette. He pulls the cigarette away from his mouth with just enough opening in his mouth to allow the smoke to FLOW UP FROM HIS MOUTH, OVER HIS NOSE, AND AROUND HIS EYES - or however it flows. This is to build that CLAYTON is a little creepy himself.

AS SOON AS JASON PASSES, CLAYTON PULLS ANOTHER DRAG AND FLICKS THE BUTT AT JASON, SLOW MOTION HOPEFULLY.

JASON goes into the building and goes directly into CLAYTON's room as the alarms chirp out. He looks around the room to see a guitar, the "organ-shaped" cupcake pans, all the punk stuff you find in CLAYTON's room. JASON LOOKS AROUND SUSPICIOUSLY. He looks at and for everything. JASON MOVES TO THE BACKSIDE OF CLAYTON'S DESK AND SNOOPS.

JASON LOOKS DOWN INTO THE DESK DRAWER (multiple shots from JASON's face to drawer perhaps).

BOX TIME. We see the sphere deep inside the drawer, glimmering out, (close up?) A little weird box music to be added later. JASON pulls the drawer open a little more and pulls the sphere out. JASON examines it with a forced frown and puts it in his pocket.

JASON

You're off the hook this time.

5\. INT - JASON'S ROOM – DARK

JASON is standing in his doorway with an older guy who looks like his boss leaning against the doorframe. The only illumination in his room is the small desk lamp on his desk.

JASON

Yeah, everything checked out. I only had two rooms with power cords underneath rugs and a budson burner in J5. I've got the paperwork started.

STEVEN

Alright, man. Be fair.

STEVEN lifts his way off the doorframe.

STEVEN(cont'd)

Get whatever you need to me.

JASON

Alright. I'll take care of it.

JASON closes his door and walks to his desk. He is sitting at his desk. He opens a book and pauses. We see he's the only one in his room. He opens his desk drawer and pulls out the sphere.

JASON

Cool.

CLOSE UP SERIES

He rotates it. He runs his fingers over the raised brass panels on its surface. We see this for five to ten seconds, as if he's getting to know it. Then, he situates his fingers on each of the little gold circles, almost like he's performing a mind meld with it. We get a little puzzle box music.

During a cut to JASON's face, we hear a mechanical clicking, and he smiles and rears back with pleasure. With a cut back to his hands, we see it's the box.

JASON

Al_right_.

(beat)

That's _cool_.

He puts it down beside his open book and next to the rest of his puzzles, his desk illuminated only by the desk lamp, the box shining beautifully.

6\. CENOBITE ROOM – QUITE LITTERALLY, DARK AS HELL

The environment is about as dark as dark can get. We still have chains hanging about, hanging in idle. We see in the darkness a few cenobites seemingly doing whatever they do when they aren't taking people away. They may be literally operating on people, but we don't see much, just the hint of metallic objects. Only a dim hint of the torture taking place. Then, we see almost the unbelievable. It is Pinhead sitting on an ornately grotesque chair. We see a little bit of an orbit around him. He produces a box. He moves it about, and we get a pretty good look of it in Pinhead's delicate grip.

PINHEAD

The eternal gateway between my domain and theirs. LeMerchand's craftsmanship is unparalleled, its configurations _so_ attractive...

(beat as he moves his hand around the box, changing it to the sphere)

...all so majestic, all so enticing, its consequences so certain.

PINHEAD presses on its corners and manipulates it. The corners move around independent of the main body. We cut to it as the diamond.

PINHEAD (cont'd)

Their greed brings them forth one after another to experience beyond _human_ imagination. They claim misconceptions, and they squirm so delightfully.

(beat as he turns it back into the box again)

So eager to play and so _reluctant_ to _admit_ it.

Pinhead stares at it, the box foreground in his hand. The mood changes to one of almost anger and frustration as he curls the box toward him in his hand.

A few, however, have been able to wiggle out of what was due before I could get what I had come for.

(beat)

Kirsty Cotton,

(beat)

for whom I once sacrificed myself, is finally again within my grasp, and reciprocity is at hand. She will finally answer to her own Hell.

PINHEAD's gaze lifts from the box as if he feels something, senses the disturbance in the Force.

Pinhead

Unless that very same curiosity threatens to _derail_ my plans.

PINHEAD's gaze shifts off into the shadows, and we see one of the cenobites stop what he's doing in order to look over at him. The figure stands erect, and we see part of him in the most dim of lights, light glinting off his shiny wounds, slick with blood, and the metal impaling his body. He puts on a coat of sorts with a toss forward of his arms. He steps into the ethereal light slightly engulfing Pinhead and bows, head down in front of his master. PINHEAD turns his hand over, palm up, slightly lifts his hand, issuing a silent command. The Stake cenobite stands.

Pinhead

There is an unforeseen obstacle in our path. An arrogant _cretin_ has what is not meant for him. He threatens Kirsty's destiny.

(beat)

_Persuade_ him to _not_ indulge his curiosity.

CLOSE UP

In the dark, STAKE cants his head back a little, ready for his mission.

7\. INT - JASON'S ROOM – NIGHT - DARK

JASON is working on his homework, either literature or something else when we see him beginning to fall asleep. His eyes get more and more narrow. Finally, they fall closed, and his head lands on his arm after a few inch fall.

CUT TO BLACK

We hear fire in the back ground, most American yelling orders, some Arabic with a "Allah Hakhbagh! Sherpa! Derga-derga-Muhammad Jihad!" The sound kind of dies down slowly.

(beat)

The crunching of boots on rocky sand builds up into...

EXT – SOMEWHERE SANDY - DAY

Snap open to see JASON's face laying down on the ground, his hair kind of fluttering in the wind. The day is BRIGHT, the film either highly saturated or it's simply extremely bright. His eyes open as the crunching gets a little louder. Then, a desert tan jungle boot lands in front of his face and steps away.

Aspect change:

JASON's view. What seems like a gargantuan man in desert camouflage steps over him and walks away at a pretty reasonable pace. He is dressed in the full desert cammo with an M-4 carbine slung to his back, a back pack, behind which is the hilt of a ninja's katana blade, a pistol on his leg, a sizeable load bearing vest, and a boonie cap on his head. It is apparent this guy is a super soldier, likely special forces of some kind.

JASON slowly gets up. His Hawaiian shirt flaps in the breeze as corny as we can get it, and he begins walking after the soldier. He looks around and sees corpses everywhere, some American and British, most Arab. This soldier seems to be the only other one alive in this derelict environment. The soldier approaches a military vehicle, and he pulls a canteen from his belt, unscrews the top and draws a swig of water from it. He wipes his mouth with his wrist and begins to put the top on.

JASON

Hey, man, could you hook me up with some of that?

The soldier pauses and looks at JASON through the corner of his eye. After a second, the soldier screws the cap back on and stows the canteen on his belt. He moves off to the side, down the vehicle.

JASON moves topics.

JASON

Who are you?

We get a quick camera perspective shift to the ground, sweeping past a pretty mangled Arabian corpse. We see JASON off in the relative distance looking in our direction, as if looking at the body.

JASON (cont'd)

What is this place?

Back to the two of them, we see the soldier look over his shoulder with an almost disgusted expression, likely annoyed at the fact that JASON is even addressing him.

ZACK

Sergeant first-class Zachary Taylor, 455-39-9001…

(beat)

we're along the Iraqi-Kuwaiti border, the aftermath of the Gulf War of 1991…

(beat as he lowers his voice)

…this is my Hell.

JASON

No way.

(beat as he looks around in awe)

Did your men do all of this?

ZACK

Some. _I_ killed most of them, some with nothing more than a sword, an empty pistol, and my mitts.

CUT to his clenched fists.

JASON looks at ZACK with a strange look.

JASON

Holy shit. Are you a like ranger or something?

ZACK

Something.

JASON

How did we get here?

ZACK

We have passed through the window of your mind, Mr. Blair.

We see JASON is taken aback at the fact that ZACK knows JASON's name.

ZACK (cont'd)

Our paths cross because you have come across something that does not belong to you,

(beat)

something not meant for you.

JASON

What?

ZACK pauses and narrows his eyes at JASON.

ZACK

There are things out there you should just let pass on,

(beat)

specifically, what you found recently.

(beat as ZACK looks to the sky)

If you don't, JASON, you will be trapped.

JASON

What are you talking about?

ZACK moves around and looks at him from the corner of his eye.

ZACK

Wood, gold filigree, cube shaped.

JASON's eyes widen, and he is physically taken aback, perhaps straightening his posture a bit with a look of "how did you know?!" on his face.

ZACK(cont'd)

You know, after doing stuff like this...killing men with your own hands, it kind of fucks you up a little bit.

JASON

FUBAR, huh?

ZACK

In the aftermath of this, I had gone insane from the pain.

(beat as ZACK turns to face JASON)

I found exactly what you found. I thought it was a guarantee to all the answers, a way to make peace with what I had done. I thought I had found redemption.

(beat)

What I found was more than I could handle.

(beat)

Even to this day, I am still in the desert.

JASON draws a breath, about to say something, but ZACK cuts him off.

ZACK

You know, you're really _quite_ lucky.

ZACK turns around to face JASON.

ZACK (cont'd)

He _never_ gives warnings. In fact, I think you may be the first.

JASON still plays stupid, as if he's going to trick this guy.

JASON

A warning for what?

ZACK

What you found and _simply regard_ as another puzzle, another box, a complex paperweight, is a _lot_ more than that. _Thievery_ will ultimately be the end of you if you do not return what you have stolen.

JASON advances on ZACK.

JASON

What are you talking about?

JASON says with a cockiness as if he is hiding the fact that he is a thief. ZACK furrows his brow.

JASON (cont'd)

I haven't stolen anything!

ZACK

Do you really think your secrets are closed to me? _That_ is the reason I am here, tonight, JASON. I am giving you a chance that _no one else_ gets, a chance _I_ did not get.

(beat)

You're tampering with something _much_ _greater_ than you can possibly imagine.

Zack says with clenched teeth. Zack pauses and looks back to JASON.

JASON

I haven't stolen anything.

ZACK

You're playing a dangerous game, JASON. You're trifling with the _wrong_ entities. He will show you _little_ more sympathy.

(beat)

Go ahead, JASON. Take a look to the sky just before you die. It _is_ the last time you will.

CUT between the two of them as ZACK orbits a confused JASON.

JASON

What could _whatever_ you're talking about possibly do?

ZACK

Your deepest fears, your darkest sins, your worst nightmares will be embodied and turned against you, and you will live _beneath_ them for _all eternity_.

JASON

Sounds a little dark.

ZACH turns his back and continues to orbit.

JASON quickly reaches down to an American corpse at his feet and pulls a Beretta92 pistol from a holster and points it at ZACK.

As soon as JASON can blink, ZACK grabs JASON's arm, brings him in a little and busts out some Close Quarters Combat action. It appears that he slaps the weapon in JASON's hand and grabs behind JASON's neck. With a quick rotation of the hip, ZACK slams JASON face down into the tough sand with a thud. JASON rolls over as ZACK walks off.

JASON gets up and points the gun at ZACK. JASON sees it doesn't have a slide on it.

BACK TO ZACK, we see he's holding the slide in his hand.

ZACK

You trifle with the wrong entities. Not wise.

(beat as ZACK orbits, and JASON gets a solid footing.)

I can't just out right tell you, JASON. There are laws I have to follow. You have to figure some of this out for yourself.

JASON gets up, gets just out of arm reach of ZACK and points at him with a tight fist and ridged index finger.

JASON

(hostile)

NO! None of this is real. You're not real, you fucker! This is just a dream, and _I'm_ in control!

ZACK

You are in control, JASON. _Return_ what you've stolen.

JASON

You're not real! You're not _fucking_ real! I'm in contr...

As JASON points at ZACK, ZACK's arm jumps out at the speed of light and grabs JASON by the neck, choking him with an amazing grip. JASON struggles.

CLOSE UP

JASON falls, and we see the musculature in ZACK's forearm sharpen as it grips JASON's neck. JASON repeatedly grabs ZACK's flexed forearm arm, trying to remove it with futility.

CLOSE UP on ZACK's face. Now, he has black eyes.

ZACK

Do not think for a moment that you are not in _grave_ danger.

(beat as JASON squirms)

JASON is lifted off the ground and held up in the air. We pull back to see the Stake Cenobite in all of his cenobitic glory. ZACK's voice is now far different, deeper and bound with a cenobitic vibration as the camera orbits them, allowing us to see the full extent of the wounds on the cenobite.

Quick cut to now the Stake Cenobite's free hand clutching the box, blood around his fingers. We hold again as Stake scrunches his eyes and bares his teeth.

STAKE

This is _not_ for your _eyes!_

SMASH CUT!

8\. JASON's DORMROOM - NIGHT.

JASON throws himself off the desk and falls over backward in his chair. As he's on the ground, he kind of finds his footing and comes up on the desk seeing the box with a few finger impressions of blood on it. He falls back again, and we get some great, stressful music as we follow his view, almost as the "JASON" cam as it comes on up to break the edge of the desk. As we slowly crest the desk, we see the box, only this time, there is nothing on it...clean as a whistle, as shiny as it always was.

JASON rubs his eyes and stands his chair back up. He stands in a crouch gripping his neck, noticing that it still hurts. He looks at the box as he coughs a few times rubbing his neck.

CUT to RYAN sitting at his desk. He halfway rises out of his chair in concern.

RYAN

Whoa! JASON, you okay, man? Looks like you hit your head pretty hard.

JASON

Gotdamn, dude...

JASON looks really out of touch, as if he was still dreaming, still coming out of a deep, deep sleep.

JASON

I don't know, man. I don't know. I just had the most vivid dream. This guy, this dude was like all messed up. We were in the desert.

(beat)

He said it was his hell, or something.

JASON sits back in his chair and rubs his neck again, his Hawaiian shirt falls across his thigh.

JASON (cont'd)

How long was I out?

RYAN

About an hour, man. You sure you're okay?

JASON

Yeah.

Ryan sits back down.

JASON (cont'd)

Crap, man, I have to get back to studying. But first,

(beat as JASON gets some paper work together)

I have to take some stuff over to Tucker.

9\. EXT – HAЯT HALL PIT – NIGHT

People have filled the pit, all gathered around CLAYTON and his buddies. They are all looking up to the forth floor of the building with smiles across their faces. A voice rings out from a silhouette high in the forth floor window.

Token

Hey, you ready?!

CLAYTON jumps up and pulls himself up on one of the fire escape ladders mounted to the side of the building.

CLAYTON

Yeah! Let's rock, Token!

We see a guy on the ground facing up with his legs spread directly below the forth floor window.

CUT to the silhouette with a bright green ball in his hand, and he releases. The ball gains speed as it falls down to the ground, the camera following its whole travel. It impacts the dude on the ground with great force. He recoils and rolls over as the crowd roars in laughter.

CUT to the GHD standing next to his door, shaking his head.

TUCKER

You guys are crazy! You're just damn crazy.

He swipes the door lock, pulls the magnetically sealed door open, and enters the building.

CLAYTON

Oh! Did you see that?! Oh, damn! Is there anyone else who would like to get in on the crotch-ball?!

CLAYTON acts like a circus leader.

The guy we would cast as the Achilles Cenobite steps up with his shirt unbuttoned. This guy is well built and cut...kind of like Achilles would be. He lays down, and they toss the ball back up to the window. They do the count down again, and the ball falls. It hits him square in the balls, and of course, he reels in pain.

CUT to JASON coming out of his ramp and stopping at the edge of the crowd, looking on with great interest.

CUT back to the guy as he gets up and staggers to the side. With a quick hop, he makes fists and flexes with enthusiasm (as if the act of getting your balls smashed by a bouncy ball is somehow exhilarating).

CUT to JASON with a very disapproving look on his face. He crosses his arms and watches.

CLAYTON

Alright, got to lead from the front, right?

CLAYTON takes off his outer shirt, an open button down shirt, and lays down.

CLAYTON(cont'd)

Alright, Token! Do your worst!

TOKEN laughs from above and lets the ball fall. It hits CLAYTON in the balls, and he recoils in much the same way. He rolls over to the side.

CUT to JASON moving through the crowd.

JASON

Alright, everyone! Don't go anywhere! I need all of your names! You're all guilty of hazing! Every one of you needs to give me your names.

The crowd starts to disburse.

JASON (cont'd)

And you!

JASON points toward a stumbling CLAYTON.

JASON (cont'd)

You're the damn leader of this crap! You're getting your own special punishment, mister!

CLAYTON

Oh, shut the hell up, JASON. How the hell is this hazing?!

JASON points to the window.

JASON

Throwing objects at students from windows is "quading," and quading is considered hazing, _and_ you were hanging on the fire escape ladders!

CLAYTON holds up one finger and he stands hunched.

CLAYTON

Only one of them, JASON.

JASON starts toward Tucker's ramp.

JASON

You and all these people watching are going on report for this one.

CLAYTON

Oh, shut the fuck up, you retard! Quit just trying to get people in trouble, you argon ass!

JASON

And disrespect of an RA.

JASON swipes into TUCKER's ramp.

CLOSE UP on CLAYTON hunched over, a profile of CLAYTON's face in the foreground and the door with JASON entering the building in the background.

CLAYTON

Dumbass can't see fun when it hits him square in the face.

(beat as CLAYTON groans)

Note to self: crotch violence is _never_ a good idea.

10\. INT – HALLWAY – DAY

The sound of the swipe of a card through a card reader proceeds the cut from the previous scene to this.

CLAYTON walks into the building, letting the automatic closing door slam behind with a loud crash. As he puts his ID back into his pocket, he does a double take at JASON's door right across the hall way from his.

CLAYTON

Hmmm...

We pan around to see that the door is open a crack, and the light inside is off.

CLAYTON moves over to the door and pushes it open slightly. He looks in, and we see RYAN asleep in one of the lofts bordering the walls high above their desks. CLAYTON silently moves half way into the room straddling the door and carefully unscrews the peep lens in the door, pulls the two pieces out, and exchanges the one of the front for that on the back and carefully screws them back on. CLAYTON mutters under his breath.

CLAYTON

And thus is how JASON TV is born.

CLAYTON walks back to his room and goes in.

11\. INT – CLAYTON'S ROOM – LATE AFTERNOON OR SO

We hear the sound of water running, as if a shower were running.

MOTOGUE:

We have a quick look around CLAYTON's room. We see that on his desk he has a picture of his family, one of Kirsty Cotton, one of his buddies back at a military academy, etc. There are a few books on his desk including Richard Marcinko's _LEADERSHIP and MANAGEMENT__, __Make Love the Bruce Campbell Way_, a few Navy SEAL books, Marine Recon, Green Beret book, a manual on something cool military, and his course work. There are several other things in his room that are strange in nature, like explained earlier. The water stops, and a few seconds later the door opens. JASON has on a pair of boxer briefs with his blue hair horns drooping down his head sadly. We see many tattoos on his body, one of which is the symbol for recon Marines. Being former recon Marine, he is well built for a punk. As he's drying off, he looks to his roommate.

CLAYTON

Hey, you know if JASON's back?

His roommate smiles from behind his computer.

ROOMMATE

Yeah, he's back.

CLAYTON

Oh, good.

CLAYTON opens the door and walks across the hall. CLOSE UP as he looks through the peephole. We see the light from the inside shine on his iris.

FISHEYE lens shows us JASON taking really, really cheesy sword-fighting poses with his lightsaber hilt he had sitting on his desk. He steps around like he's a ninja.

CUT back to CLAYTON as he smiles.

CLAYTON

And this is the guy who is giving me so much crap.

(beat as we get another look at JASON swinging his lightsaber around)

God, what a loser.

CLAYTON brings his hand up to eye level and knocks on the door real hard.

CUT back to the FISHEYE. We see JASON jump and put the lightsaber back onto his desk before he gets to the door.

JASON opens his door to see CLAYTON.

JASON

What do you want?

JASON says as a statement.

CLAYTON looks deeply into JASON's eyes with a suspicious squint of the eye. He glances into the room and takes a little sniff of the air.

CLAYTON

You were playing with your lightsaber, again, weren't you?

JASON

No. I don't know what you're talking about.

CLAYTON grabs his crotch and grips little Clayton around through the fabric with one hand.

CLAYTON

I've got a saber for you right here, asshole.

CLAYTON turns around and walks back to his room.

CLAYTON (cont'd)

Look, quit being such a cock-master all the time, man, and people might start to respect you.

(beat)

Let me tell you a secret. Respect is _earned_, not given, manno.

JASON gives a hesitant look, giving the expression that he gets it; he realizes that what he is doing, being such an ass, might just be wrong. We hear CLAYTON slam his door, and JASON closes his door normally.

12\. INT - JASON's ROOM - NIGHT

Blend phone ringing in from last scene to this one. JASON's roommate picks up the phone.

RYAN

Hello?

(beat)

Yeah, sure. Hold on just a second.

(beat as he turns around)

Hey, phone.

RYAN holds the phone out.

JASON

Who is it?

Ryan

Your girl friend.

JASON RELUCTANTLY TAKES THE PHONE, ALMOST REFUSING TO.

JASON

Yeah.

JASON says unemotionally as he sits behind his computer.

WE HEAR CHATTERING ON THE PHONE FROM A DISTROT FEMALE'S VOICE. We see what he's actually doing on the computer. He is talking on IM. He is talking to a person with a screen name of STAR_TREKISDOPE391.

JASON (cont'd)

Yeah.

JASON types _dude, Han could kick Kirk's ass any day_.

JASON (cont'd)

Uh-huh.

STAR_TREKISDOPE391

_No way, dude. Kirk eats Klingons for breakfast! He could take Boba Fett!_

JASON (cont'd)

Yep.

_Dude, no one can lay a finger on Boba Fett. He's the best bounty hunter out there! Sure Kirk's got a phaser, but put that up against a blaster and a rocket pack and see what happens! _He responds.

JASON ROLLS HIS EYES AT THE BITCHING OF HIS GIRL FRIEND.

JASON

Yeah, hey, um, can I call you back, hon?

(beat)

Yeah, I have a paper I have to do. Thanks.

JASON hangs up the phone without another word from her.

JASON (cont'd)

Damn! Always jibber, jabber, jibber, jabber.

JASON said with a QUACKING OF HIS HAND, signifying her chattering.

RYAN

You sure, man? It sounded kind of serious to me.

(beat)

Dude, she was crying.

JASON

(aggravated)

Yeah, I'm sure.

STAR_TREKISDOPE391

Dude, have you ever seen the capabilities of the Enterprise? You know how many tie fighters it could take out at once?

JASON

This guy doesn't know what he's talking about.

All I have to say as far as ships go...star destroyer.

JASON (cont'd)

Gotch'a, bitch.

RYAN shakes his head slightly and turns back around.

RYAN

You know, winning an argument on the internet is like competing at the Special Olympics.

(beat)

Even if you win, you're still retarded.

(beat)

_Especially_ when you should be trying to see what's got your girlfriend all worked up.

JASON brings back up a word document for class. We see him scroll to the end of this page (we are going to have to write this doc up and put it in the extra features). He types a little more about whichever subject he is currently on.

JASON looks at the clock on his monitor. It says 7:25 or something close.

JASON

Aww, crap!

JASON looks at his watch real fast.

JASON (cont'd)

My SI!

JASON gathers his things and throws them into his backpack, zips it and throws it on.

RYAN

Check you later, man.

JASON

Yeah, later.

But, just as JASON is leaving, he turns around and grabs the box, sticking it in his hoodie pocket.

13\. INT – CLASS ROOM – NIGHT BUT WE CAN'T TELL

CUT TO writing on either a chalkboard or a dry-erase board. As the female TA talks, we see JASON writing his notes. We see he quickly tires of the subject and begins to draw pictures. He draws them for several seconds before he puts his pencil down and pulls the box out of his hoodie. As he has it in his hands, he tumbles it like the puzzle pro he is. He looks at it and narrows his eyes. He traces his fingers all around the box's design. He does this for around five seconds.

CUT TO the guy next to him a few times as he kind of twitches a little and blinks a few times, eventually his eyes go black. Then, with some cool sound effect, and a CLOSE UP on his mouth, we hear him say...

BLACK EYES

JASON...

JASON looks up and over to him as it startled by the weird sound. The guy slowly shakes his head back and forth. JASON furrows his brow at the site of the dude's black irises. The DUDE WITH BLACK EYES slides his sunglasses down over his eyes. Kind of freaked out, JASON glances back to his TA and puts the box down in his lap. He picks his pen back up and writes a few more things down as the TA looks at him with an annoyed look. After a few seconds, he places his pen down and goes back to work on the box.

JASON traces his fingers a little more as he begins to figure out the puzzle. He turns it to the side with the big circle and begins to slide his fingers in toward the center. When all of a sudden...a bunch of nails jut out of the circle almost getting his thumbs! We see a surprised look on his face. With a sharp sound, the TA's piercing voice jumps in.

Angry TA

Mr. Blair!

(beat with a CUT as JASON looks up)

If you are going to be in my study session, you will listen. If not, let someone else be in that seat. Is that clear?

JASON looks down at the box, and the nails are gone. It's back to normal.

Angry TA (cont'd)

I said, is that clear, Mr. Blair?

JASON

Yes, my most sincere apologies.

14\. EXT – HAЯT PIT – NIGHT

We see CLAYTON and a bunch of his buddies (those we can scare up, like BRUT, JAMES, SEAN) talking. They laugh a little as we come in, presumably after telling a dead-baby joke.

BRUT

Hey, did JASON every write you up for that escape ladder thing?

CLAYTON

I don't know. You know how paper work goes. It takes a while to get around.

JAMES is smoking, of course, and CLAYTON shakes his head.

CLAYTON (cont'd)

That ass, you remember that sphere I showed you?

JAMES nods his head back as he takes a drag.

JAMES

Yeah, that little thing about yeay big?

James makes a gnarled little ball shape with his hands.

JAMES (cont'd) The one you said turns into the box? BRUT

Kirsty's birthday gift?

CLAYTON points to BRUT.

CLAYTON

That's the one. I think he stole it during the fire drill today.

SEAN

Yeah, she's like an adopted sister, right?

CLAYTON

Yeah, she's extended family. No blood.

Sean nodds.

BRUT

Yeah, don't you remember when she came by last semester? She was with her fiancée-husband thing.

Brute says with quoting fingers.

SEAN

Oh yeah, what's the deal with that guy? He seems like a real douche.

(beat as CLAYTON rolls his eyes)

He kept hitting on the freshmen.

CLAYTON

Yeah, I don't know. Trevor doesn't seem to be the most honest guy.

(beat as he shrugs)

Kirsty's just really trusting. You know, I bought it, because her first anniversary is coming up, and I wanted to get her something really cool.

SEAN

How much did you pay for it?

CLAYTON

Oh, _plenty._

CLAYTON responds with great animation.

JAMES

So, you going to get it back?

CLAYTON

Yeah. I've got a plan.

SEAN

Does it involve violence?

SEAN says with great delight.

CLAYTON

Oh, does it...

(beat as CLAYTON smiles like always)

It involves a little spec ops, fangorious amounts of shaving cream, urine filled sprite bottles, and the access of his roommate.

Brut

No claymores and detcord?

Clayton

No, not this time. This is absurd, and you know, you've got to illustrate absurdity by being absurd.

JAMES

'You going to do JASON TV?

CLAYTON

Done. I even caught him playing with his lightsaber again.

CLAYTON looks over his shoulder. They all quit talking as JASON walks by. They all watch him walk by, the camera watching their eyes track him. As his back gets to them, he swipes into the building, and CLAYTON flips him off. As the door closes behind him...

ALL OF THEM.

Fag.

As it draws on, they turn and shake their heads casually, and keep on their business. As this happens, we hear the audio of _Orgazmo_ with "Okay, now, Hung this is the last shoot for the day," or a quite similar overlap until...

15\. INT. JASON's room – NIGHT

View of an LCD computer monitor showing the T-REX scene. We cut back and forth from the screen to RYAN's face. His face slowly distorts in disbelief as he sees the scene unfold with all the glory and horror of Ruby Hart as Tina-Rex. As she is making all of her noises, JASON comes in.

JASON lets the door slam behind him.

JASON

What the hell is that you're watching?

(beat)

Oh, Orgazmo. Turn that crap off, man. You know the rules.

RYAN

Yeah, I've got to study anyway.

(beat)

Hey, why have you been giving CLAYTON so much crap lately?

JASON

(snide and impatient)

You've seen him do his shit. He's always being a little smart ass. He's doing stuff to be disrespectful. He needs to go to learn how to respect superiors, learn how a chain of command works.

There is a noticeable pause with a hold on RYAN.

RYAN

Dude, he's a Marine. He was a sniper. You see his physique, man? He's a beast! He's not a punk to be a little fuck. He's a beater of ass.

JASON

I thought he just worked out.

RYAN

Yeah. He does something like a hundred and twenty pushups, man. Thirty pullups, crazy bench, and I haven't seen too many people run or swim like him, either.

(impressed chuckle)

He has something like thirty confirmed kills, man. If he wanted, he could take either one of us apart.

RYAN pulls out a book and starts along his studying way WHILE TAKING NOTES.

RYAN (cont'd)

So, you might want to lighten up on him a bit.

JASON thinks for just a second. He realized it might not be the best idea to mess with this kid.

He digs a few things out of his backpack. Then, he pulls the box out of his hoodie pocket. The box chimes as he begins to play with it. He turns it over in his hands and sees the business card reading ALL PROBLEMS SOLVED. CLOSE UP ON THE CARD. He sticks it onto the corner of his desk.

RYAN

Hey man, what's that?

JASON

I think it's a puzzle box.

RYAN

Hey, be careful. You don't know what the Hell's in there. For all you know, it's full of mung, dude.

JASON

Man, what's the deal with you and mung, really! That's nasty shit.

TIGHT IN ON RYAN as he squints his eyes as if he's being possessed by something. As the strains silently, we see him clench his jaw and really grin hard (not a smiling grin) and begin CHATTERING HIS TEETH. He's being taken over by one of the CENOBITES. His mouth closes, and his jaw muscle clenching on and off a few more times before relaxing.

RYAN/CHATTERER

JASON, I'm warning you. Don't open the box. You have no idea the consequences. It's puzzle might be too much for you.

JASON

Dude, puzzles are my thing.

The focus shifts from RYAN/CHATTERER's eyes to JASON's solved puzzles, back to his eyes again.

RYAN/CHATTERER

Yes, I can see that. I just think that this one you might want to pass up. With most puzzles, you know what happens in the end. This one you don't. It's consequences might just be too much.

(beat; RYAN sounds a lot more serious now)

Are you really ready to pay the price? Are you willing to accept the consequences of opening the box?

JASON

Yeah, of course.

JASON speaks with a really snotty tone.

RYAN/CHATTERER shakes his head slightly as he rises from the desk.

RYAN/CHATTERER

Once you chose to cross the threshold...you cannot go back.

(beat)

Don't think for a moment that you are not in grave danger.

(beat)

I'm speaking from experience.

JASON forrows his brow and turns to face him. He's heard this before...in his dream.

RYAN goes to the door and opens it. He lowers his head and looks over his shoulder.

RYAN/CHATTERER

(somber)

Just...be careful, dude. You don't know what you're doing.

RYAN leaves the room.

JASON

'Bout time he left me alone.

JASON proceeds tumbling the box over and over in his hands as if a real pro at puzzles. Enter now, Track 4 the SIGHT. It goes on as JASON plays with the box, (compilation of shots of him fiddling with the box, turning it over, close ups as he runs his fingers over the different parts of the box. We can't make it look like it's really easy to get into the box, it has to look like this wiz-bang takes a while, 30-40, seconds maybe. Then he gets it.

He orients his thumbs along the corners of the box and presses. They rotate around.

JASON (cont'd)

Cool.

With a smart movement of his fingers, he rotated the rest of the corners. They move and make an audible click. We see he tries to figure out how to orient them. A hint of frustration ripples across his face. He moves the ends around until they click back into place. The box is now seamless again.

CUT to a clock, either his computer, digital clock or another. It rolls around to 3:00 am, the evil time.

Series of CLOSE UPs and EXTREME CLOSE UPs:

CUT back to the box as he turn it around to the pattern with the button on it.

On his eyes first. Second, on the button in the box as he pushes it. The pyramid emerges from the top and slides toward him.

JASON

Wow.

He pushes the forward piece back into the pyramid and presses it back down into the box. Then, he turns the box over and keeps working with it. He turns box back over to the top and starts his thumbs on the _corners of the box_ and brings them into the large round piece on its face. Slowly, he circles his fingers around the large circle. He puts the box on his desk and leans back in his chair. As it's still a box, it would be cool if we could get the entire desk to vibrate, moving the box across its surface.

STAR:

The box splits, slowly goes up, makes a quarter turn, and comes back down in its star pattern. In the midst of the box moving, he says:

JASON

Fuckin' awesome.

When it comes back down, it sits for a second. With a slight pan around JASON's face, we momentarily see a dark figure in the dark background. Practically, this would be GUIDO. Immediately after, we hear the sound of chains falling from the ceiling. With a quick SMASH CUT, ten to fifteen frames, of the bloodied room, him slumped over the desk BOOM! We have a quick cut back to him normal in the chair, flailing his arms, almost falling over. His chair slams back down on all four legs as he regains himself.

JASON

Whoa, what the hell was that?

JASON looks back at the box on the desk. It's still the star. It slowly and calmly moves up, rotates, and moves back down into the shape of the box.

JASON

Umm, right.

(beat)

Yeah.

(beat)

Low blood sugar. Time to get something to eat.

16\. EXT - Dorm on to Military Walk - Night

JASON blows out of the dorm and begins down Military Walk. We make it seem really alone and very creepy. Enter part of "Chemical Entertainment" with the long and eerie bell tolling sound.

CONTINUOUS STEADYCAM SHOT. After several seconds of him walking along as if it is cold, he HEARS A CRACK. He stops and turns around. He sees nothing. The camera continues around to see nothing behind him. With the camera continuing around, he still looks behind and finally comes back around the front to see the STAKE CENOBITE a hundred or so feet ahead of him (cool sound) wearing a leather trench coat. JASON stops and takes a few steps back. He turns around to see the GUIDO CENOBITE directly ahead of him, staring at him through a dark pair of welding glasses, his head wrapped in bailing wire. JASON steps back and turns back around to see STAKE far closer to him now. We can see STAKE has several triangular steel tent stakes embedded deeply into his chest. JASON turns back around with GUIDO only feet away from him now.

JASON bolts out perpendicular to the two cenobites and runs to the Blocker Building.

INT - Blocker Building - Night

JASON runs into the door, pulls it open, yanks it back closed behind him and locks it. JASON LOOKS UP TO SEE the GUIDO RIGHT OUTSIDE THE DOOR looking in.

JASON leaps back and runs back into the building. We see JASON running to the café in Blocker. We hear a disembodied voice:

RENASCENCE CENOBITE

JASON, this way. It's safe in here.

We go to a close up of the corner of a coke machine. A set of fingers wraps around it and pulls a nasty wire wrapped head around it.

RENASCENCE CENOBITE (cont'd)

We have such sights to show you.

JASON backs up in horror and runs off down a hallway.

JASON rounds the corner to an empty hallway. He comes to a computer lab with a LARGE WINDOW looking into it. He catches his breath when SLAP! a big, nasty, bloody, skinned arm impacts the window.

JASON leaps back and looks down the hallway to see STAKE at the end of the hallway! He turns around to escape, but GUIDO stands in his way! What does he do?

JASON turns to the door directly across the hall from him and opens it. ENTER NOW, PINHEAD. We see PINHEAD in a very pale light, ethereal in nature. We do a FULL TORSO SHOT, two second hold on his upper torso.

PINHEAD

Do not think for a moment you are not in grave danger.

JASON tries to step back a little, and runs into Stake and Guido on either side.

As STAKE and GUIDO come up behind him, we see GUIDO really rear back and shove forward really hard.

We see JASON's head rear back (spit up blood?) and then PAN DOWN to his chest where a massive Spike Cenobite spike is protruding from his chest.

SMASH CUT -

17\. INT - JASON'S DORM ROOM - DAY

JASON snaps awake in his chair, like he awoke earlier, with the box in his hand, still a box.

RYAN

You okay, JASON?

RYAN said after turning around in his chair and furrowing his brow.

JASON

Yeah, yeah.

JASON placed the box down on his desk and took a deep breath.

JASON (cont'd)

Yeah, yeah, I'm fine, thanks.

RYAN

I didn't wake you up, did I? You were asleep when I came in.

JASON

No, no, no, man. Na, you're cool.

JASON furrows his brow and pinches the bridge of his nose. We see that JASON is having one hell of a hard time. He furrows his brow really hard, and really pinches the bridge of his nose. WE HOLD FOR SEVERAL SECONDS AS HE RECOVERS FROM THE SHORT PINCH. He leans back in his chair.

JASON rubbed his eyes with his right hand as his Hawaiian button down shirt fell around his legs. JASON TAKES A DEEP BREATH AND looks over to the corner of his desk, where the business card hangs by a piece of tape.

CLOSE-UP on the card. It reads ALL PROBLEMS SOLVED. His finger comes in and picks it off.

JASON reads it. JASON contemplates the card. He flicks it a few times and bits his lip. He turns around to his roommate.

JASON

Hey, Ryan.

RYAN turns around.

RYAN

Yeah?

JASON

I've got a question for you. I want you to be honest.

RYAN

Alright.

JASON

What do the people around here think of me?

RYAN contorts his face. He thinks about it.

RYAN

Umm, well, to be honest, they all think you're a big jerk off, man.

(beat)

You always _act_ like a big ass on a power trip.

JASON shook his head slightly.

JASON

I never wanted that.

(beat as he runs his hand though his hair)

I always _hated_ people like that.

(beat)

I never wanted to be one.

JASON shook his head in rejection of himself.

JASON (cont'd)

I'm even stealing stuff, now.

(beat)

How did I ever get like this?

A moment passes.

JASON pulls the incident report with CLAYTON's name on it off the clipboard and tears it up.

JASON

Hey, RYAN, is CLAYTON outside?

RYAN

Um, I think so.

RYAN says as he continues on his math.

JASON

Hey, I'll be back in a minute.

JASON rises from his chair and walks toward the door.

RYAN

Alright, later, man.

JASON steps out and closes his door.

18\. EXT - DORM - DAY

JASON walks down a small flight of stairs and out into the rear of the building. He walks into a small gathering area where CLAYTON and his three buddies stand talking (Kendale, James, Brute). CLAYTON is on top of the table while his buddies are on the ground (buddies are James, Brandon, and Sean. They are all laughing and joking with each other but drop it as JASON approaches, his shirt flapping in the breeze (real corny).

CLOSE UP ON CLAYTON'S FACE AS HE TAKES A DRAG FROM HIS CIGARETTE. He holds it for a beat and exhales. He leans down and puts it in the ashtray.

JASON

CLAYTON, let's talk.

JASON accidentally says this in his holier-than-thou voice.

CLAYTON

_What_?

(beat as he motions animatedly with his hands.)

I put it out in the ash tray. I didn't flick it into the garden!

JASON

No, no, no, CLAYTON, I just want to talk. I want to apologize for being such a...

JASON looks for a word.

CLAYTON

...a _dick_?

JASON

Yeah. I don't know why I've been acting like that at all, man. You're cool. I didn't mean to be such a dick.

CLAYTON goes wide eyed, as do his buddies.

CLAYTON

Well...

(beat as CLAYTON sticks another cigarette in his mouth)

Fooled me.

JASON

Yeah, well, I don't know what's been going on.

JASON looks at CLAYTON and sticks his hand out.

JASON (cont'd)

I'm sorry, man. Let's just start over, alright? Just right off the bat, okay?

There is a beat of hesitation as CLAYTON tosses his cigarette pack back and forth before he takes JASON's hand in a shake.

CLAYTON

Yeah-sure.

(beat with a good, hard hand shake)

Clean slate, huh?

JASON

Clean slate. Thanks, man. You were in the Marines, right? Sniper or something?

(break the shake)

CLAYTON furrows his brow

CLAYTON

Yeah. Recon sniper.

JASON frowns and nods.

JASON

Cool, man. I didn't realize. I have to get some stuff to Tucker, so I'll catch you for dinner with the hall.

JASON turns away and goes to the door leading into the dorm. He SWIPES IN. HE PULLS THE DOOR OPEN AND ENTERS.

CLAYTON's friends look at him and laugh.

JAMES

Fag.

19\. INT. DORM RIGHT OUTSIDE TUCKER'S ROOM.

JASON walked over to the first door on the left-labeled Graduate Hall Director and knocked. We hear a response from the other side of the door.

TUCKER

Yo!

JASON walks in.

TUCKER (cont'd)

What can I do for you, JASON?

JASON

Hey, um, I just wanted to ask you to go ahead and put my name on the rest of the incident reports I've written, okay? I appreciate the help you've been giving me with that, but I'm not going to be writing many more.

TUCKER

Really?

(beat)

You know, if I do that, you'll probably get in trouble for writing so many.

JASON nods. TUCKER leans back in his chair.

TUCKER (cont'd)

Change of heart?

JASON

Yeah. I've been being too hard on these guys.

TUCKER

I was going to talk to you about that.

JASON

I'm laying off. No more silly ass infractions, alright?

TUCKER

Alright, man. No problem. Thanks for coming in.

JASON

Alright, man. Later.

JASON pulls the door closed and starts back toward the outside. He stops short of the door, allowing us see there is no one in the courtyard from the side of the frame. He snaps his fingers and thinks of something he forgot. JASON turns around and steps back up the steps and knocks on STEVEN'S door. There is no answer. What could it be? He looks into the peephole and observes the lights are on.

JASON

Hey, Steven, it's JASON, can I come in?

JASON grips the door knob.

CLOSE UP on the door knob WHILE HIS HAND IS STILL ON IT. He pulls it off with a bit of blood on his hand.

JASON backs up and blows the door open to see...BLOOD EVERYWHERE! Flickering fluorescent light. We see THE CENOBITE AREA WITH THE CHAINS HANGING FROM THE CEILING, SOME GOOIES ON THE HOOKED ENDS, CHAINS SWINGING, A FOREARM ON ONE OF THEM. BLOOD! MORBID METALLIC CHAIN CLANKING! SOME EMBEDDED DEEP INTO HIS CHEST AND ATTATCHED TO THE CEILING. Alright, all of that goo, and TUCKER is in his chair, leaning back. We have some chains in his torso and tent stakes in either temple.

JASON falls back on his butt and pushes himself back on the ground slowly to the other side of the hall (five feet) against the wall. Absolutely horrified. He gargles his words.

JASON

Oh, Christ.

(beat)

Oh, Christ.

(beat)

Someone. Someone help.

We hear the creaking of leather coming from the room. Enter now, the STAKE CENOBITE in all his gory glory. STAKE steps into the doorway SO WE SEE HIS WHOLE BODY.

CLOSE-UP HEAD SHOT AS HE TRAINS HIS EYES FROM OFF TO THE SIDE TO DIRECTLY ONTO JASON, LOOKING DOWN AT HIM. COOL "CHEMICAL ENTERTAINMENT" MUSIC kicking things up a few notches. A second after he trains his eyes on JASON:

STAKE

All problems solved.

JASON

Holy shit!

With the STAKE CENOBITE watching JASON's every move, JASON scurried up the wall as best he could and bolted toward the lounge.

JASON bursts into the TV lounge and saw a number of people watching television.

JASON

TUCKER'S dead! Some one call the police! The murderer's still in Tucker's room!

(beat)

Tucker's dead, and the guy's in his room!

RANDOM GIRL #1

What are you talking about, JASON?

JASON

Tucker's been murdered!

Now, from behind, they hear:

TUCKER

What are you all yelling about?

JASON, still in a shocked daze, poked at him, making sure he was really there.

JASON

You're not dead?

(with disbelief)

You're not dead!

JASON runs over to the door, down the short hall and looks at TUCKER'S doorway. THERE IS NOTHING OUT OF THE ORDINARY.

TUCKER comes up behind JASON.

JASON (cont'd)

What the hell? I saw a guy here, TUCKER! He was the same one in a dream I had! I saw him! He like had tent stakes sticking out of his chest!

JASON tries to stutter out an explanation, but TUCKER cuts him off by placing his hands on JASON'S shoulders.

TUCKER

JASON, no one's there.

JASON

Yeah, I can see that!

(beat as JASON squints his eyes and rubs his forehead)

God, something's wrong, Steve! I'm seeing really fucked up shit!

TUCKER put his hand on JASON's back and leaned in toward him.

TUCKER

Are you alright, JASON?

JASON

(breath)

I'm messed up.

TUCKER

JASON, everything's okay. I think you need to go get a drink of water and take a nap or something, man.

(beat)

Go cool off for a minute, man. Go gather yourself and cool down.

After a moment, JASON nodded and gave Tucker a bear hug. He releases quickly.

JASON

God, I'm seeing things, Steve, and they're scaring the shit out of me.

JASON looks at his watch.

Crap. I've got to study. We'll talk later, Steven.

JASON staggered out the door, and the people in the hall looked at each other strangely.

20\. INT. JASON'S DORM ROOM

JASON closes the door and covers his eyes with some nifty camera work. He smiled at the absurdity of it. We can fit some nice HELLRAISER MUSIC in here. We hear him say jokingly to himself.

JASON

No, no. I'm studying _too_ much.

JASON goes over to his mini-frig and pulled the door open and pulls out a can of Monster. He opens the can, sits in his chair behind his desk, and takes a swig. He sits the can down and sees the box on his desk.

CAMERA ANGLE CHANGE? To the box in the foreground on the left and JASON in the back to the right. JASON grabs the box and slides it over with the rest of the puzzles on his desk. He puts his head phones on and begins listening to Main in the Box by Alice in Chains. He listens for a beat or two before he pulls his philosophy book around in front of him.

The camera angle changes to ROTATE AROUND JASON to reveal PINHEAD on the far side of the room, behind JASON. (SOUND TRACK: Headless Wizard busts in from 0:00).

Close up

PINHEAD's feet as he begins forward, SLOW STEPS, one at a time. His hakama stepping forward as his feet push it out, barely seeing the soles of his shoes.

PINHEAD brings an arm up and grabs a pin from his head

Close up

...on the head as he pulls it out(cool special effect). The pin is about two inches long and is tipped.

PINHEAD brings it down and PASSES IT UNDER HIS HAND (cool slight of hand) and brings out a ten inch long pin. PINHEAD walks up behind JASON unnoticed and runs the pin through JASON's right hand on the desk.

JASON yells and tries to make a fist with the pin, but is of course unable. PINHEAD pulls another out of his head and brings it around the back of JASON's head.

PINHEAD

I see you enjoy puzzles, JASON.

PINHEAD runs the pin through JASON's neck, silencing him. We'll try to have it protrude through his thyroid cartilage.

PINHEAD (cont'd)

Did you enjoy mine?

JASON gets a little more…

BAM!

21\. INT. JASON's DORM ROOM

JASON slams his feet down onto the ground and is visibly startled. He is further startled by the sight of the box in his hands, and he tosses it onto the table.

JASON

Bwaaaghhhagh!

(or something similar)

JASON gets up and covers his face.

What in the hell?

JASON chugs the rest of his drink and crushed the can in his hand.

Alright. Got to wake up.

JASON walks over to the mirror and gets real close, looking at his face (Now, this camera angle will have to be close behind JASON's head, like real close). He picks at a zit, and out of the periphery of his vision, shiny metal pins and a pair of shoulders crest out from behind his figure. JASON's eyes JET UP as if looking at it. He whips around to see no one behind him. He loosens up and shakes his head. JASON opened the medicine door behind the mirror, grabs an aspirin from its container, puts the bottle back and shuts the door. As the door closes, PINHEAD IS IN THE REFLECTION! It's PINHEAD's full torso. JASON moves back a few paces visibly startled with a quick _aahhh_! PINHEAD stares right into JASON with his black irises.

PINHEAD

Seeing things, are we, JASON?

JASON

Holy shit!

JASON backs away quickly, falling against his loft.

Jesus Christ!

PINHEAD

Not quite.

(beat)

I can see into your soul.

(beat)

Oh, the things we never did that we wish we had.

JASON

What the hell-who are you?

PINHEAD

An explorer-of the farthest regions of experience. An angel to some, a demon to others. You are going to have to confront your _own_ demons, JASON, and soon. You will have to complete your journey and learn the truth. You will see many things you will wish you had not. You have all eternity to understand the truth. We have all eternity to know your flesh.

An immediate pain shoots through JASON's head causes him to squint and stumble.

SHA-PING! Back in the room.

JASON immediately shakes awake in his chair, with the Philosophy book in his hand, and the box on his desk. He quickly looked around. We get the feeling that it had all just been a dream. Wow! Is he glad that was over. RYAN leans backward.

RYAN

Hey, JASON, your girl friend called. She wanted to know when you could reschedule your date.

JASON grits his teeth, remembering what he'd done earlier in the day, blowing her off during the phone call. JASON gets right on that.

JASON

Thanks, man. I appreciate it.

JASON picks up the phone and dials her number.

22\. EXT - Military Walk - Day

JASON and HOT CHICK walk along the long walkway draped with tree canopies toward the strip of restaurants off campus. They TALK and GIGGLE while HOLDING HANDS. As they walk, JASON visibly feels much, much better. He's moving along with a smile. He looks around the beautiful campus, the people in the grass studying, squirrels playing in the grass and climbing the trees.

JASON

I'm sorry, hon', I didn't mean to sound abrupt on the phone. You know, midterms and all that, we're all a little stressed.

HOT CHICK

Yeah. No problem, JASON. I'm just glad we can spend a little time together.

JASON

I'm sorry to hear your grandfather died last night.

HOT CHICK

Thanks. I didn't know what to do when you hung up on me.

(beat as JASON tries to say something)

Well, what do you want to eat when we get to the restaurant?

JASON

Well, I don't know.

JASON looks off to the side.

JASON (cont'd)

I think a number six.

JASON looks around. He sees a squirrel running. It runs up a tree, out of view. Quick cut to the ground as a bloody mess resembling a squirrel splats on the ground.

CUT back to a surprised JASON. The camera follows his POV as it moves up to the tree where he sees...

CUT to the STAKE CENOBITE sitting in the tree, along a branch, about seven feet off the ground in his trench coat.

JASON stops dead in his tracks, turns around and speaks softly in HOT CHICK's ear.

JASON

You see that guy in the tree?

JASON speaks with a quaking voice. She furrowed her brow and slowed slightly. She looked around at the other trees as well, and JASON kept his gaze directly on her.

HOT CHICK

Who?

JASON motioned with a quick twitch of his head toward the tree.

HOT CHICK glanced again, and leaned in toward him.

HOT CHICK

There's no one there.

Oh, what's this? Our hot chick a little skeptical? Nooooo.

JASON looks and sees there is indeed no one there.

JASON

Aaarrgh!

JASON touches his head and grits his teeth, conveying a slight pain in the head. He releases.

JASON (cont'd)

I'm just studying too much. I'm starting to have really weird day dreams and nightmares. So,

(beat)

You were saying about what you wanted to eat?

As the two of them walk toward and eventually under the tree on which the stake cenobite was sitting, we see them pass under from just behind his head, perhaps?

23\. INT. NEW YORK SUBS NORTH GATE - DAY

JASON and the HOT CHICK walk to the counter and place their order with all of the standard interactions as it would happen. They stand at the cash register until their food is ready/pay for it. When they get their food, they walk back and sit in a booth.

JASON

So, when is the funeral going to be held?

HOT CHICK

Next Wednesday. We're planning for a bunch of people to show.

JASON

How old was he?

HOT CHICK

Eighty-two I think.

JASON

Was he in the war?

HOT CHICK

Yeah, he flew P-38 Lightnings over Italy.

(beat)

He was shot down over Italy and eventually picked up by the Nazis and taken to Dachau.

JASON

Both of my grandfathers were in the war, too. One was in the Navy in the Pacific, and the other was on the ground and hit Normandy, but neither of them really talked about it much.

HOT CHICK

Yeah, my uncle really didn't talk about it much, either until he was about to pass away. He started to when he knew he was about to die. He got a lot of it down in a book before he passed away.

JASON

I wish my grand fathers would have talked about it. My mother's father was at Pearl Harbor when it was hit.

SMASH CUT to HOT CHICK shimmers as JASON's head hurts him a little, we see him cringe. She now has tears running down her face.

HOT CHICK

Why do you keep lying to me, JASON?

JASON forcefully leans back as she's BACK TO NORMAL eating her sandwich.

SMASH CUT HOT Chick is crying again, looking down, slouched into herself.

HOT CHICK

I know about them.

SMASH CUT same thing, but she's more animated now slamming her fists down on the table.

HOT CHICK

YOU CHEATED!

(beat back to JASON, then back to HOT CHICK)

ALL THOSE FRESHMEN!

JASON leans back and pushes against the table. HOT CHICK is back to normal tearing off a piece of the roll. She looks at him.

HOT CHICK

What?

JASON blinks real hard and shakes his head. He begins to slide out of the booth.

JASON

Hold on a second, hon. I'll be right back.

JASON pivots out of the wooden booth and walks all the way back to the bathroom. As he moves out of the booth, he moves past in a fly by. The camera follows directly behind him at chest level all the way to the bathroom.

CLOSE UP ON THE DOOR AS IT OPENS. IT'S THE GUIDO CENOBITE! Oh, what is JASON going to do? Stand there and look stupid for a few seconds is what he's going to do. JASON backs up a little into the hallway as we zoom in tight on GUIDO's wire wrapped face. The light reflects off his welding glasses. He's illuminated by a flickering florescent light in the bathroom.

ANGLE CHANGE LOOKING AT JASON. GUIDO surges into the picture and slams JASON against the wall.

ANGLE CHANGE PERPENDICULAR TO THE ACTION of JASON being pushed up against the wall with Guido's left hand. GUIDO produces a massive metal stamp and a nasty, wooden hammer. He puts the stamp against JASON's forehead and smashes it with the hammer.

24\. SKLACK! INT. JASON'S ROOM - DAY

JASON slams his feet back down onto the ground and makes some sort of noise with the box on his desk.

HOT CHICK

You alright, JASON?

She is sitting next to him studying with a book in her hands.

JASON

No, no, I keep having nightmares.

HOT CHICK

I think you really just need to get some more sleep, JASON. You've been pushing yourself for midterms.

JASON rubs his eyes and sighs deeply. He looks over at her and smiles after a second.

JASON

You know, I will always be faithful with you. I will work my hardest to make myself good enough for you.

HOT CHICK

Aww, JASON.

JASON clicks a song on his play list on his computer and stands up with his hand out.

JASON

May I have this dance?

HOT CHICK smiles largely and takes his hand. They begin dancing back and forth. After a few seconds of mushy dancing, we get even more.

HOT CHICK

I think we can make this work.

They keep dancing back and forth when her hand starts to slip inside his button up shirt and up his pull over. She feels up his chest with a few CLOSE UPs on their faces.

HOT CHICK

We can make this work.

OH, wait, it's not her voice! He opens his eyes and furrows his brow.

OH GOD, it's the RENASCENCE CENOBITE! He tries to push away, but she has him, one hand on either side of him, holding him firm. Her hand deep inside his shirt flexes against his chest, pushing against his shirt, and he gives a nice little scream as blood soaks through the shirt.

RENASCENCE CENOBITE is getting a real kick out of it, evident by her expressions.

RENASCENCE CENOBITE

You always took so much flesh JASON,

(beat as JASON's facial expression gets a little more shocked, a little more pained. She gets an aggressive look on her face.)

It's time to give some back.

She rips a big chunk out with a sharp scream. We see it's his pectoral muscle.

RENASCENCE CENOBITE (cont'd)

We have all eternity to know your flesh.

SKLACK!

INT. JASON'S ROOM - DAY

JASON falls backward in his chair and hits the ground hard. He struggles around on the floor. He puts his palms over his eyes as if trying to block out the images.

JASON

Jesus Christ, help me! Nightmares! Damn, damn, damn!

JASON gets back up and sits in it. He leans forward in his chair, propping his elbows on his knees. He rubbed his temples with a forceful exhale. He looks at the clock on his computer and curses.

JASON

Shhhhhhit! Psychology!

25\. INT. LARGE CLASSROOM

JASON is writing notes in a spiral wound notebook. While he is taking notes, he is sketching pictures of the monsters he has seen. JASON goes back to taking his notes and we see his writing slowing. CUT to his eyes drooping a little. CUT back to his notes as his writing gets smaller. CUT back to his eyes as his eyelids go down further and further. CUT back to his notes as he is now writing words over each other. CUT to his eyes falling closed. CUT to his hand as it falls limp and drags a line down the page.

INT. LIBRARY - DARK

The lights are out. We see only by means of the light coming in the windows parallel to JASON. The scene is WASHED OUT in a blue, signifying this is a dream. JASON is seated at a table in a leather jacket. He has his head down on the table resting on his arms. His eyes open, and he starts to get a look around.

POV shot

JASON pauses as he sees the box sitting on the table. JASON looks around confused and almost gets up but stops as we hear a disembodied voice.

PINHEAD

Still in the dark, I see.

JASON frantically looks around and acts a little pissed.

JASON

Where are you?

PINHEAD

I...am...everywhere.

We have his voice bounce around the stereo speakers with every word or just have it sound like it fills everything.

JASON looks around and locks his vision down the darkened passageway. We see a silhouette about ten feet from JASON. We can tell it is PINHEAD.

JASON

Are you responsible for these dreams?

A pause without response. Then, JASON looks down and sees the box in front of him on the table.

JASON (cont'd)

This thing. What is this? It's just a puzzle box.

PINHEAD

A puzzle box, yes, but that is _not_ all it is. It is a means to discover one's self, a means to shatter the paradigm, a means to break the surface of the real.

(beat)

Ultimately, it is a means to summon _us_.

(beat)

Some spend their entire lives attempting to solve its puzzle, yet others are destined to master it immediately.

(beat)

You, Mr. Blair, were _neither_.

Pinhead points a lazy yet powerful finger directly at JASON. He angles his body a little bit perpendicular to JASON as he points.

PINHEAD(cont'd)

(aggravated)

You are an uninvited guest, JASON. However undesired you are, once you chose to cross that threshold, once you chose to _force_ yourself upon _my domain_, you made the commitment to never go back,

(beat as Pinhead relaxes his stance)

and now, you must pay the price.

JASON looks really confused.

JASON

What?

PINHEAD

Is it so hard to confront your demons?

JASON

I don't know of any demons.

(beat)

I don't understand.

Pinhead pauses and narrows his eyes in disgust.

PINHEAD

The ubiquitous refrain of humanity, pleading ignorance, begging for forgiveness, 'please help me, I don't understand.'

(beat)

You will know everything JASON, far more than you wish.

(beat)

Your time is almost up. Your journey is coming to an end...

Pinhead points at JASON and cocks his body a bit as earlier.

PINHEAD (cont'd)

...and you must atone for your crimes.

JASON

No. None of this is real. This is a dream, like the other guy, this is some kind of reoccurring _dream_.

JASON looks at PINHEAD and grits his teeth with passion. As JASON begins to stand, he says:

JASON (cont'd)

You're not real!

CUT to a view from beside JASON's legs under the table, looking through the legs of the chair. As his knees straighten while he gets up, the chair pushes back slightly.

CLOSE UP of a chain exploding from the carpeted ground and reaching up to get JASON.

CUT to the chain grabbing JASON by the collar bone on the right, pulling him down, yanking him down and to the right.

Another chain comes up from the ground and grabs his collarbone on the left and pulls him down, back into the seat. Both of these chains pull him down and forward.

Another two burst up from the carpeted ground, crossing each other over his back, and grab him by the tops of his traps. They all synch down on him, pulling him upright in the chair.

PINHEAD

Oh, but I'm afraid I am.

(beat as we see the chains synch down again)

JASON

(whispering in great pain)

This is all a dream...this is all a dream.

PINHEAD closes on JASON, the camera angled a little up at PINHEAD.

PINHEAD

Oh, no JASON, dreams are fleeting, nightmares are _forever_.

PINHEAD finishes with a bit of snarl.

SMASH CUT TO:

26\. INT – CLASSROOM – DAY

JASON wakes up as the class is leaving. He rubs his eyes and looks back at his notebook full of drawings. He comes across the one of the top of the box. JASON gets up and walks down the steps toward the professor. When he arrives, the prof looks up at him.

DR. BRADFORD

Well, hello, Mr. Blair. How are you?

JASON

I'm not so hot, Dr. Bradford.

(beat as he squints his eyes and thinks)

You're knowledgeable on the Occult, aren't you, sir?

DR. BRADFORD

Yes. What's on your mind?

JASON

Do you know of a little box, about three inches cube with a bunch of gold etchings on it?

Bradford pauses, as if surprised he's hearing this. He then breaks out of it, normal again.

DR. BRADFORD

Yes, I think so.

The good doctor turns and draws a picture of it on the board. With the big circle on top and some of the other detail.

DR. BRADFORD (cont'd)

Like this?

JASON

Yeah. What is it?

DR. BRADFORD

Well, it's called the Lament Configuration. It was said to have been created by a high-end French toy maker back in the twelfth century named LeMerchand.

(beat)

I'm very surprised you know about it.

JASON

What does it do?

DR. BRADFORD

Well, it's said that it opens a doorway to Hell, and through that doorway come demons, Cenobites, and they take you away.

(beat)

How do you know about this box? This isn't common Occult knowledge. You really have to dig around for this stuff.

JASON wiped his mouth and stared at the table. He reached in and pulled the box out of his hoodie and thumped it down on the desk. There is a certain pause, and Bradford slowly takes a step back.

DR. BRADFORD (cont'd)

Okay, now you have my attention, Mr. Blair. Where did you get this?

JASON

I got it off one of my residents.

DR. BRADFORD

Do you know how _he_ got it?

JASON

I guess the same way anyone ever gets it.

DR. BRADFORD looks back and forth to the box.

DR. BRADFORD

Okay.

(beat)

You do not understand the unimaginable danger you've put yourself in. In fact, I am not conformable being around that.

JASON

Why? Is it real?

DR. BRADFORD

Well, I can tell you that this is one of the most dangerous things you could have ever come across.

(beat)

I mean, ever.

JASON looks inquisitively. JASON

Really?

DR. BRADFORD backs a little bit further away, giving the space about ten feet or so.

DR. BRADFORD

Yeah. This is supposed to be a direct doorway to hell, a two way road.

JASON

Two way road?

DR. BRADFORD

They come out, and you go back with them.

JASON

What do these Cenobites look like?

DR. BRADFORD

They're demons of the flesh. They're wounded in terrible ways. They feed themselves pain. This...

(Bradford points to the box)

...is supposed to be a gateway to eternal pleasure, but I don't think it is. There is too much referring to these creatures as monsters with metal impaling their bodies, flesh torn off, hooks holding wounds open...too much suffering for them to harbor pleasure. Psychiatrically, they could be deriving pleasure from the pursuit of pain, but that only leads to a worse conclusion for the end user. Such as yourself.

(beat as Bradford smiles)

Well, but you know, everything's probably okay. It's supposed to be one of the hardest puzzles on the planet to solve. You should be alright.

JASON

I solved it.

(beat)

I opened the box.

DR. BRADFORD stopped smiling and froze.

DR. BRADFORD

You opened it.

(beat)

You're kidding, right?

JASON

Nope.

DR. BRADFORD

I find that very concerning.

(beat)

Well, it's probably all just a bunch of fiction anyway. Most Occult assumptions and stories are.

(in a small voice)

For your sake, I hope they are...

BRADFORD rotates around a brief case of his and pauses.

BRADFORD

It's strange you bring this up now, because I have been researching this lately.

(beat as he pops the briefcase open)

A week ago, I was commissioned by the Denver Police Department to help them solve a case. The fact that you have that box changes the situation. I'll go ahead and let you in on this.

(beat as Bradford pulls out a police report)

It seems that not too long ago, a Detroit Policeman was found dead by a prostitute he had slept with the night before.

Bradford pulls the file out of his briefcase and lays it on the table. It's beaten and folded at the corners.

BRADFORD (cont'd)

He was found with a piece of evidence that had gone missing from an evidence locker the day before.

JASON leans in, CLOSE UP ON JASON's eyes, CUT down to the page and slowly zoom in.

BRADFORD (cont'd)

Something that puzzled all but the department's psychologist was that the detective's crime scene and the crime scene from which the piece of evidence, that box, was missing were nearly identical.

JASON turns the page. There are several crime scene photos paper clipped together of a bloodied corps sitting on the pot. Chains are on the ground, and a few are still hooked into him.

BRADFORD (cont'd)

His body was eviscerated, torn apart, by hooks and other metal implements.

JASON

Only the psychologist knew what happened?

BRADFORD

Yes, but no one wanted to hear it. Recently, an underground investigation led by the chief of police, the department's psychologist, and the detective's partner brought me into it.

JASON

What convinced them to reopen the case?

DR. BRADFORD

The only thing common to both crime scenes was this.

BRADFORD turns a page showing another crime scene photo of the box sitting on the bathroom counter like the scene in _Inferno_.

DR. BRADFORD (cont'd)

The missing piece of evidence was the box.

(beat)

They believed it was the cause of both murders. The department psychologist had much the same information as I. These cenobites, once you open the box, they come for you, and they take you away.

BRADFORD writes on a piece of paper the reference number of a book.

DR. BRADFORD (cont'd)

If you really want to know more about the mythology, this will tell you about as much as I am willing to.

He hands the paper to JASON, and he slides the police report to him.

BRADFORD

I will allow you to borrow this until next class if it will help you unravel what's going on.

JASON

Thank you, sir.

JASON packs up and almost leaves the box. BRADFORD points to it.

DR. BRADFORD

Don't forget your box.

27\. INT. LIBRARY - ROW OF SHELVES - DAY

We see JASON's fingers running across the spines of the books. His hand slows and stops on one book. JASON pulls it out and cracks the book open. He flips around in it and passes a page with a bunch of drawings on it. Before he could go back, someone brushes up against him. He looks up and sees the back of a guy dressed in camouflage. He is wearing an octagon-shaped hat and has a book in his hand.

JASON

Hey, don't you guys take your hats off when you're inside?

JASON speaks casually. The man turns around, and we see he has no face.

JASON jumps backward and backs out of the isle. He gets out and bumps into a man's back. He turns to see a bloody/messy back of a head.

JASON

Jesus Christ!

The man turns around, and it's TUCKER with a bullet hole in his head and bloody holes in his shirt.

TUCKER

Why did you do it, JASON? Look what you did to me!

TUCKER shoves JASON back and to the ground.

TUCKER (cont'd)

Why did you do _this to me?!_

TUCKER reaches out and grabs JASON by the throat and slams him up against the end of a book shelve.

TUCKER (cont'd)

WHY?!

TUCKER throws him to the ground, and JASON hits hard. JASON looks back at TUCKER and sees his roommate, RYAN step up from behind him. He has a badass compound bow.

RYAN

You know, JASON, you were the worst roommate.

HOT CHICK steps forward with a handful of used, tied off condoms.

HOT CHICK

I gave you my trust, JASON. I gave you all I had.

RYAN pulls an arrow with a really nasty arrowhead on it and lines it up on the string. JASON scrambles to his feet.

TUCKER (angry)

You know what you've done to us _all_, JASON!

CLOSE UP on TUCKER's bloody face as he says it low and full of anger.

RYAN

I walked in on their little party for you, buddy..._pal_!

He draws back on the string.

RYAN (cont'd)

How the hell am I ever going to sleep again, _huh_?!

(beat as he lowers his voice)

They might even come after me, next.

He releases, and

SWISHPAN as the arrow flies with all due impressiveness right into JASON with some nifty camera work.

SLAM! Now JASON has a bloody arrow sticking out of his chest.

TUCKER

You have wronged us all, JASON.

JASON stumbles, and RYAN sets up another arrow as TUCKER speaks. He draws back.

HOT CHICK

And now you must atone.

RYAN releases.

and - BAM! JASON lifts his head off the table real fast. He's sitting at a table in the library. The guy in the uniform is sitting at an adjacent table reading a book with his hat stuffed into his rolled sleeve. Nothing's wrong with him. JASON grabs his things (with the new book) and leaves.

28\. INT. JASON's DORM ROOM

JASON opens the door to see his roommate watching _Aquateen Hunger Force_ [adult swim] on his computer. He reaches for the mouse with a laugh. JASON kind of recoils when he sees RYAN, remembering what he had _just_ dreamt, the arrows and everything.

RYAN

Oh, hey, man. I'll turn this off so you can study.

JASON sits down at his desk.

JASON

Aww, no, man, that's cool. You can leave it on.

RYAN

Naa, you don't like me to watch things on my computer during study hours. I have to get back to work, anyway.

JASON

It's cool if you leave it on, man.

JASON acts very fatigued and docile.

RYAN

That's not very much like you, JASON. 'You okay? You don't look too good.

JASON

I have had one fucked up day; that's for sure.

RYAN gets his bow and backpack together.

RYAN

Alright. Hey, I'll check you later, man. I've got to go shoot.

JASON recoils at the sight of the bow. He notices only blunt noses on the arrows in his pack, a stark contrast to the razor blade hunting heads earlier.

JASON

Alright, man, later.

Ryan leaves, and JASON lays down on the futon. He covers his eyes with a blanket and lays there for a second.

JASON turns over and lays for another second. What is this? Can JASON not sleep? Nope. He pulls the covers off his head with an annoyed look. He gets back up and sits back in his chair. He pulls the new book out of his backpack. He flips it open and flips through the pages. Some flip by with a picture or two on it. He goes back and goes past a drawing of the Spear of Longinus and comes to some pencil rubbings of the box and reads the text, picking back up at the bottom of the page. He read aloud unconsciously.

JASON

'Appearing in and out through Occult literature is the Lament Configuration. Measuring approximately three inches on all sides, the cube is overlaid with gold filigree is said to be one of three ways to open the gates to unknown pleasure. The other two being an origami design producing the same shape, and a scroll hidden deep within the catacombs of the Vatican bearing proper incantations. The box is a complex puzzle whose design inevitably, once solved, unleashes the demons simply reported as 'Cenobites,' referring to their religious worship by members of the Occult. They are described as tortured souls of Hell. When they come, they come to take your soul.

(beat as he turned to the next page)

On that page were illustrations, as if mug shots of the monsters. We see Angilique, the Female Cenobite, Butter Ball, and Chatterer and one of the Wire twin cenobites. JASON quickly pulls the case file over and flips through it until he comes to the witness report from the prostitute where there is a composite drawing of one of the wire twins.

JASON

No way.

JASON pushes the file to the side and goes back to the book. He turns the page, and we see a drawing of PINHEAD.

JASON (cont'd)

This cenobite, rumored to be the Aztec sun god Zipe Totec, is thought to be the leader. There are mixed reports of what actually happens when these demons arrive. Some say you are rewarded with everlasting pleasure of the flesh in exchange for your soul, and others say you are subjected to unimaginable torture. Few, if any, have survived to tell an accurate story. The most credible source to date has been a woman by the name of Kirsty Cotton.

She claims to have escaped the cenobites by manipulating the box itself. She claims they can be sent back through the door from which they came, back to Hell, by resolving the puzzle in their collective presence.

JASON looks at the pictures in the book again and to the box on his desk.

JASON (cont'd)

Their collective presence.

(beat as JASON examines the box again)

'Good enough for me.

The door creeks open, and JASON whips around to see his boss poking his head into his room (something cool from the sound track).

TUCKER

How's it going, JASON?

JASON

Dude, Steven, I think I've figured it out.

JASON pulls around to face TUCKER.

JASON (cont'd)

See, this box?

JASON grabs the box and holds it out.

JASON (cont'd)

This thing is what's going on. This thing opened up Hell, and demons are after me.

TUCKER stops and holds a look at JASON with narrow eyes.

TUCKER

Yeah.

(beat)

Right.

(beat)

You sure?

JASON

This book spells it...

JASON looked back down and saw he had a calculus book in his hand. Something's going wrong with JASON, huh?

TUCKER

That's a calc book, dude. I know it's evil stuff, but,

JASON tries to utter a few words, some sort of explanation.

TUCKER (cont'd)

You know what, JASON,

(beat)

let's go to the Bradley Hospital. I've got to get my ankle checked out again anyway. Let's see if they can get you something, huh?

JASON shakes his head and slams the book closed.

29\. EXT - Military Walk - Day

JASON and STEVEN walk and talk, dialogue YTB. JASON talks about the cenobites. He tells Steven about the box and sending the demons back. As they walked along, JASON's attention is grabbed by the tapping of metal against concrete. He turns around to see…

CLOSE UP on GUIDO's hand as his hook-tipped fingers wrapped the concrete slowly, maybe with a little style. Then quick cut to GUIDO's full body sitting there looking right at JASON with a school shirt on, blood seeping through the shirt in the six places.

Back to JASON looking quite upset. JASON snaps around and get's TUCKER's attention.

JASON

Steve, look! Look! It's one of them!

TUCKER looks quickly, and we see...

CUT TO GUIDO without any make up but wearing sunglasses sitting on the bench reading a book with the same shirt on. Steven turns around, and GUIDO looks up slightly at JASON and cracks the smallest smile.

30\. INT - Bradley Hospital - Day

We enter the new scene with JASON being sat down on a medical bed by the doctor. She steps off to talk to Tucker about JASON's hallucinations. Dialogue YTBD. JASON twiddles his thumbs and swings his feet back and forth as we hear them mumbling off in the corner. JASON turns his head.

We see a nurse ringing out a sponge full of blood! Ewww! Maybe even a brain being handed from one nurse to another! JASON furrowed his brow. TUCKER's voice cuts in really sharply.

TUCKER

Thank you, doctor. I'm sure he's in good hands.

TUCKER walks off, and the doctor steps into view of the gore in a pan.

DOCTOR

Okay, here, just lay back and try to relax.

She leans his head back and shines a light in his eyes, CLOSE UP on his eyes continuing to look around. She steps back and grabs a little cup.

DOCTOR (cont'd)

We're going to give you a sedative to help you calm down a little and to knock those hallucinations dead.

She gives him two pills in a cup, and he drinks a similar cup of water while keeping an eye on the action across the way.

JASON

Thanks, Doc. I appreciate it.

Okay, now the cool part. The DOCTOR pulls the curtain closed a little bit obscuring the view from across the room. When she pulls it, SHE PULLS IT TOO FAR, and it SEPARATES FROM THE SECOND CURTAIN EXPOSING THE PATIENT NEXT TO JASON. As the curtain comes open, we hear the whistling from _Kill Bill_.

The UNFORTUNATE PATIENT is TWITCHING IN MILD CONVULSIONS. There are two nurses working on him, one from each side. One lifts intestines out of him and lays them into a silver bowl. As the PATIENT twitches more, he looks over at JASON (close up) and begins to reach, pleading for help. Then a nurse steps in the way and slides the two curtains shut.

Close up on JASON, staring wide-eyed. JASON shuts his eyes and shakes his head.

JASON

It's all in my mind. It's all in my mind.

As JASON closes his eyes and rocks his head in his hands, we rotate around his head to where we run into the back of his head and blacks out.

BLACK OUT

The view stays black hearing only the noises of the hospital for several seconds, the telephones, the talking, the blood curdling noises from next bed over. Slowly, the noises die down one by one. Eventually, they are replaced with the cold clanking of chains.

Close up on JASON's face. He slowly takes his hands off his face showing us he is no longer in the same place. This is not really a scene change, but it is a new DVD chapter.

31\. CENOBITE ROOM

THE WALL IS BLACK. THE LIGHT IS EERY. Now, in comes a Track from the score slowly building as he looks around the room. The world of the cenobites has now been fully revealed. What looks like an unlimited amount of chains are hanging from the ceiling. This is now a dark hospital bay. JASON sits still on the bed looking around only with his eyes, noticing he is now in a sea of chains wiggling and dangling from the ceiling.

JASON

What...the...fuck.

Close ups of the various things around. After the close ups, we get a mild earthquake with the building of music. Light streams in from breaks in the plaster, exposing the lath boards in the plaster walls. As the camera quits shaking, and the music climaxes with the organs as we see PINHEAD's silhouette. Shot back and forth between PINHEAD and JASON as the music finishes up.

PINHEAD

JASON.

(beat as he begins to move amongst the chains.)

We meet again.

(beat, he comes to a stop.)

It appears you have reached the end of your journey.

JASON

You.

We begin to see JASON getting a little cocky.

JASON (cont'd)

You're behind this, aren't you?

PINHEAD

Did you confront your demons, JASON?

JASON

What the Hell is going on?!

PINHEAD

Hell is exactly what is going on.

(beat)

You were willing to pay the price, weren't you?

(beat)

I allowed my lieutenants leeway to warn you, one in your dreams and one to occupy your roommate for a short while. They warned you, of the consequences, JASON. In spite, you still accepted.

JASON

The price for what? I don't understand.

PINHEAD

Human minds, so feeble and decrepit. Failure to understand is not uncommon, nor is its antithesis a requisite for my purposes.

(beat as JASON obviously tries to compute)

However brief your journey was, it is now over. And now, you must pay the price.

We see JASON's eyes shift around and then widen as he figures it out. JASON tries to bolt, but he RUNS INTO THE STAKE CENOBITE, trench coat and all. Some cool sound from one of the tracks. STAKE simply pushes JASON back several paces back to his hospital bed.

JASON

Who are you people?

The STAKE CENOBITE walks between JASON and PINHEAD and takes off his coat with his back angled to us. WE SEE THE HORRIBLE WOUNDS ON HIS BACK AND THE STAKE ENDS PROTRUDING. He turns around and assumes his position beside PINHEAD.

PINHEAD

Who we are, what we are, is of no concern of yours.

[Perhaps mix PINHEAD's line in with STAKE pulling off his trench coat to give a little weirder impression.]

JASON (cont'd)

Tell me what you're doing to me.

PINHEAD

In time.

JASON

Tell me what you're up to right now!

PINHEAD

I said in_ time._

PINHEAD is beginning to lose his patience.

JASON moves forward and reached for the meat cleaver lying on the table. HOOKS AND CHAINS TIME!

Immediately, a chain capped with a fish hook bursts through the concrete floor and shoots up toward JASON.

The hook grabs his forearm. We see blood drip and drool from his bloody sleeve.

A second chain burst though the floor and grabbed a hold of his other arm. JASON yells out in pain.

PINHEAD chills for a second before speaking again.

PINHEAD

It is as simple as you are transparent. You solved the puzzle, JASON. You opened the box. We came.

JASON

No! No! You can't do this to me!

PINHEAD

Oh, but we can, JASON, and we have.

JASON begins to grit his teeth. Then we see JASON quit quivering. We see he realizes something. He mutters the following.

JASON

You're the cenobites.

(beat as he looks around at the ground flashback to the book)

You're the cenobites...the box.

JASON grits his teeth and pulls his arms toward his chest with a scream. The hooks rip out of his arms.

WE SEE THEM CLATTER TO THE FLOOR with chunks of JASON on them.

We immediately see the two cenobites on either side of Pinhead started toward JASON.

Close up on PINHEAD as he narrows his eyes, issuing a silent command to his advancing cenobites to stop.

SMASH CUT, STAKE stops and turns around and looks to PINHEAD for confirmation.

GUIDO does the same.

STAKE and GUIDO looked back toward JASON, both STAKE and GUIDO flanking PINHEAD.

JASON reaches into the pocket of the hoodie and grabs the box. He pulls the box out and holds it in his hand.

JASON

I know this can send you back!

PINHEAD and the cenobites watch with the chains swinging around in the room. PINHEAD leans his head back a bit in interest.

JASON solves and resolves the puzzle, the cut portions coming up and going down.

JASON smiles as it goes from the box to the star and back to the box again. The music builds and climaxes as the star sets back down into the box. Seconds pass. Nothing happens.

We see all the cenobite stuff, the pillars, the chains, the goo, the corpses, or chunks, are all still there, including the cenobites themselves.

Now, bewilderment overcomes JASON's face.

PINHEAD

Impressive, but not unanticipated.

(beat)

Allow me to pose a question to you, JASON.

(beat)

How can it send us back,

(beat)

if we are already _here_?

JASON looks super surprised as he gets the picture. JASON tries to bolt-as if that would do him any good but…

STAKE pulls a fifteen-inch stake from his chest and throws it at JASON.

SWISH PAN from STAKE to JASON's knee. We see the stake has slammed through the back of his knee.

JASON clobbers down onto the ground, camera on the ground, as his patella flings right past the camera as JASON impacts.

We get a very good look at the fifteen-inch stake through JASON's knee. It's all bloody and nasty and through his knee. OUCH!

We get a horrifying scream out of JASON.

As JASON screams, I mean a _really_ good one, we get a CLOSE-UP on PINHEAD for a second as he lets JASON soak up a little pain.

A CHAIN WHIPS across the room.

IT GRABS JASON BY THE SHOULDER and yanks him across the floor, back to the bed. And now, the big smack down.

We get a barrage of chains from the sides, grabbing onto his forearms, three per arm and more from the floor on his torso, TWO OR THREE FROM THE CEILING. Once it's all over, and JASON lets out a painful and sharp cry, nothing earth shattering, just quivering from the unbelievable amount of pain.

PINHEAD

As you have undoubtedly figured, JASON you have been here for quite some time, and here, we are most untouchable.

JASON bursts a yelp of some kind.

SMASH CUT:

JASON's room swinging with chains, lit red, the swinging light in his room is dim, maybe red with blood. On his desk, JASON's corpse sits in the chair, heaped over his desk, bloodied with chains still hooked into him. We need to have the ARM SWINGING FROM A CHAIN.

CUT TO PINHEAD

PINHEAD

You have been here ever since you opened the box, JASON.

INT – JASON's DORM ROOM – DARK

It's dark and nasty, like a little cenobite area. Chains are hanging from the ceiling, wiggling all about. Perhaps we would have blue light pouring in from the Vientiane blinds. The light cuts through the smoke in the air. Pan across to see JASON's corpse in his chair, heaped over his desk.

STAKE and GUIDO step into the picture within JASON's room. STAKE has his back to the camera and GUIDO steps over to the desk.

CLOSE UP on the desk shows the box in its star pattern. GUIDO's hand slowly picks it up.

WIDE SHOT of GUIDO with his arms cocked out as he straightens up.

CLOSE UP of the box in his hands as he runs his middle finger around the circle on its top. He grabs the side of the star, brings it up, rotates it around, and pushes it back down, forming the box. This is meant to be wholly representative of PINHEAD from the opening scenes of the first film.

INT - DORM IN HALLWAY - LATE AFTERNOON/NIGHT

We see RYAN arrive to the door and open it up.

GUIDO looks up quickly as if surprised.

View from immediately behind RYAN's head, we see STAKE with his back to us, the tent stake ends holding the coat a few inches off his back on points. STAKE turns around to the left, showing us his bloody, nasty face again. As he comes around we CUT TO THE NEXT SCENE!

Now, this is going to be tricky. CLOSE UP on STAKE's head. He brings up a flexed hand with blood drooling off it toward the CEILING! He grits his teeth and says...

STAKE

This isn't for _your_ _eyes_!

FLASH of a strobe, they disappear with a SMASH CUT within the same scene making them disappear with all the goo and nastiness still in there.

Back to PINHEAD.

PINHEAD

Because of your roommate's interference, a few ends were left untied-but they all serve my purposes.

The chains pull a little tighter, earning another short yell from JASON.

PINHEAD (cont'd)

Allow me take you on a journey, JASON, one final time. To help you remember, once and for all…

CUT TO some little kids kicking dirt on another one huddled on the ground in the fetal position, maybe a little girl poking him with a stick.

PINHEAD (cont'd)

You were always a person scrutinized during your life.

Back to PINHEAD

PINHEAD (cont'd)

It only led to the building of negative feelings, hate, injustice, a desire for revenge…such fertile grounds for torment and sorrow, however mundane.

JASON screams but is quiet in comparison to PINHEAD.

PINHEAD (cont'd)

You decided to carry your feelings forward into the rest of your existence, making life difficult on everyone beneath you, making everyone else pay for what had been done to you, exacting your revenge through petty means over the years…enjoying the pleasures of your power.

JASON

But I changed!

Pinhead narrows his eyes and leans his head back a bit.

PINHEAD

Ah, yes. A clean slate-all problems solved. Not as easily escaped, I'm afraid. It was not until _after_ you opened the box did you change your ways. Unfortunately for you, a time _far_ too late.

(beat)

You came across a doorway not meant for you, a decision you are learning to regret.

(beat)

That was meant for a greater creature, one of far higher interest and worth of my attention, a girl named Kirsty Cotton. There was once a time when I gave myself for her, allowing her to escape, a favor not devoid of reciprocity.

(beat)

You were given a choice, JASON, you were warned of what might come from the box if opened. You chose to open it anyway. You solved the puzzle, you opened the door. We came.

We get another great look at the cenobites

PINHEAD (cont'd)

While most pressing of your digressions is the diversion of my resources, that is not where your infractions end. Your secret desires have brought you here.

Now, as STAKE approaches JASON, he pulls one of the tent stakes from his chest, nearly all its length bloody and nasty. STAKE slams the tent stake deep into JASON's shoulder, earning another scream.

PINHEAD (cont'd)

This is my way, JASON.

STAKE pushes the stake around in JASON's flesh, really leaning into it, getting more ouchies out of him.

PINHEAD (cont'd)

These are my pleasures.

CLOSE UP on PINHEAD

PINHEAD

Happy art' they who eat at my table.

(beat)

As bittersweet the dark cake of the human heart is, we explore it.

Your crimes, the actions you took against people in bringing them discourse over the most simple of infractions, eventually led to the changing of people's lives. You wreaked upon the innocent to fulfill your own desires and pleasures of incremental revenge. What you do not remember, however, is that you indeed submitted that last 'incident report.' That file punished Mr. Newton and his compatriots in a specific and disastrous way.

Gears clanking again, JASON screaming some more.

PINHEAD (cont'd)

During their travel, they caused a delay in the course of another vehicle. If that delay would not have been, another would not have followed the course it did...

(half second cut from Office Space)

...causing an incident killing all five of its occupants.

(beat)

Because you made the decision to be a shallow person early in your life, you caused the most painful deaths of five people.

(beat) Chain clanking.

Neither was your mate oblivious to your indiscretions. You took advantage of all those freshmen girls, longing for attention, seeking acceptance in their new environments. Their flesh so soft, their taste so delicious, you took advantage, quenching your thirst for their flesh. (A quick SMASH CUT to HOT CHICK leaving him with tears in her eyes.)

HOT CHICK

Do me a favor, if you're going to fuck every whore you meet, admit it now.

(beat back to PINHEAD, then back to HOT CHICK)

You betrayed me. We're done. We're over.

BACK TO PINHEAD

PINHEAD

And then perhaps the most tragic case of them all,

(beat)

Mr. Tucker.

CUT TO A MAN SWIPING INTO THE BUILDING with Track 20 (Death of JASON) starting with the light organ(spelling) play.

PINHEAD (cont'd)

An estranged student returned to avenge his termination under your rein…

Hopefully in a high frame rate, the ex-student pulls a handgun and knocks on TUCKER's door.

PINHEAD (cont'd)

Only it was not you who took responsibility for your actions.

(High frame rate) TUCKER's door opens, and the handgun is leveled with his chest. We see the trigger pull.

PINHEAD (cont'd)

It was Mr. Tucker.

(High frame rate) A shell casing falls to the ground, and JASON yells a really good…

JASON

_NO!_

PINHEAD (cont'd)

He never knew what was coming.

JASON (illustrating extreme emotional and physical pain)

No...no...no.

PINHEAD

Oh, yes, JASON. Oh yes. You have condemned yourself.

Another set of chains stream in from the corners and grab JASON by the corner of the eye, the cheek, and the mouth, still the organ music playing.

PINHEAD (cont'd)

This is the existence you have created for yourself, JASON. This is the Hell you have so well orchestrated.

We now have a moment of pause where we see JASON being yanked on, and a close up of PINHEAD, the organ having just concluded.

PINHEAD

Welcome to immortality.

Hard core choir banging away as his face stretches more and more, cut to a view from behind JASON's blood soaked head with the chains pulled tight, getting tighter. After two seconds, the chains literally rip the skin off his head, the prosthetic head falling down out of view. A bunch of the chains that were hooked into him from his front swing away from the camera with chunks on them. As the head falls away, all we see is PINHEAD, the cenobites, and their warm abode. After several seconds, when the music ends, all lights fade down to black.

32\. INT - JASON's DORM ROOM

JASON snaps back awake in his chair, the incident report and clip board still in his lap.

RYAN

You okay, JASON?

JASON

Yeah, yeah.

JASON rubs his eyes.

JASON

I'm fine, thanks.

JASON leans forward and puts his elbows on his knees, holding his head in his hands.

JASON

Oh, God, man, I just had the worst nightmare-ever.

He picks up a book and begins reading it. The camera sweeps around to behind his desk and comes across the box in the foreground with one of those HR1 big bell tolls echoing around the speakers. A moment passes before he looks up and sees the box sitting on his desk.

JASON

Oh, _fuck_!

RYAN

What?

JASON runs to the window, looking outside. No one's there.

JASON

Where's CLAYTON? Where's _CLAYTON_?!

RYAN (startled)

I think he's down at the administration building taking care of the incident report you filled out earlier.

JASON

Call 911 now! Get the cops down here!

JASON blows out of the room and into the courtyard and sprints through the pit to the door leading to TUCKER's room. JASON fumbles his key card enough to see a man walk out of Tucker's room and walk out the other side.

JASON

NO! NOOO!

The door finally opens and he knocks Tucker's door open to find the bloody mess he found earlier. JASON ran through the hallway and out the other door. We see the figure walking off. JASON runs up behind the dark figure and unsuccessfully tries to knock it to the ground. Instead, he spun the man around to see his own face with a stone cold expression. Yep, that's right. JASON is the killer…or is he? JASON lets go and stumbles backward.

The man flares his collar back up and turns back around on his previous course. JASON gets it. His eyes jetting around, back and forth.

JASON

It doesn't matter who actually did it, it was my actions that made it happen in the first place.

(beat)

It was me. It was me.

JASON grits his teeth and gets up.

JASON

NO!

JASON runs up the flights of stairs to the very top and stops.

JASON

I'm not going to let this happen!

JASON gets a running start at the window, we show in slow motion if possible, him getting close to the window at a full sprint.

BLACK OUT

33\. SNAP BACK to INT - JASON's DORM ROOM - DAY

JASON snaps back awake lying on the ground with the box in the foreground. Now, time for some narration that takes no longer than 1:10 with BACK HOME REALIZATION playing.

JASON (narration)

It wasn't until then I finally realized what had happened. The puzzle of the box was now so clear.

EXT - DORM EMPTY PIT - DAY

JASON is now walking around the "pit" a little, observing that nothing is exactly right, it's the same day over again.

JASON (narration cont'd)

What I opened was a door to my own personal Hell. It wasn't the box that condemned me. I had. My selfish desires only brought them to me.

CUT

We are in some cenobite area with JASON on the ground in the _fetal position_, face down. He is naked, perhaps with wounds all over his body, we only see his back and side. There are chains gripping into different muscle groups and parts of his body such as his lats, hooked into his traps, feet, forearms, etc; lots of ouchies.

JASON (narration cont'd)

No matter what they do to me, the worst torture of them all is knowing what I know now.

CUT back to JASON.

JASON is standing in TUCKER's door way, looking in at the mess inside TUCKER's room.

JASON (narration cont'd)

I have faced my demons.

(beat as we see him looking into Tucker's bloody, chained room)

I learned what I had done to those around me and to those who I hadn't even met. I have seen what I have done to others, and in turn what I did to myself. Now I must bear that.

(beat as he sees a cenobite?)

I will never be able to go back, I will never be able to make things right.

(beat)

I have faced my demons, and I will have to live with them for all eternity.

34\. EXT - OUTSIDE SMITHVILLE - DAY

We are looking at the asphalt sloping down into a concrete curb. The camera is either on the ground or near it when a car rolls up, the tire rolling past. The engine shuts off, and the door opens. A highly worn jungle boot steps out and the door shuts after him. We get the thought that this is the same place he came at the beginning of the film.

Torso shot of CLAYTON. He looks at the door, seeing it's a different color. He looks around animatedly, making sure his bearings are right.

CLAYTON

No way.

He looks through the dusty glass and sees a dusty, empty storefront. CLAYTON step back up onto the pad and walk toward the storefront we now see is empty and barren. A guy with sunglasses is walking past, and CLAYTON snags his attention.

CLAYTON

Excuse me, sir, by any chance do you know when this placed closed? I bought something here a week ago, and I needed to replace it.

GUY

This place? This storefront has been empty for the past fifteen years. You couldn't have bought anything from it recently.

CLAYTON

No...I was just here last weekend. I bought something...

(beat as he looks back to the door)

The color of the doors was different, it was...

(beat as he stops and looks back to him)

I'm sorry.

CLAYTON pulls a newspaper from his back pocket and looks at it. On its cover is a picture of the nasty, gory mess some student reporter took of the room in bade taste. It's headline: DOUBLE MURDERS IN RESIDENCE HALL DEEMED UNRELATED. The picture shows JASON's body covered by a sheet but the box next to him in a pile of entrails.

CLAYTON

A friend of mine has her first anniversary coming up, and I thought bought something here. It was stolen, and I wanted to replace it.

Quick close up shot of CLAYTON looking up.

This is the tricky part. We need to use a montage of the things he saw during the last visit to this apparent nonexistent store. We see the GLOVE thing, CLAYTON examining the BOX, and the cenobite torso in the mirror. Flash, back to CLAYTON.

GUY (PINHEAD)

(intrigued tone)

Kirsty has a spouse. How exquisitely wonderful.

CLAYTON

(strange look to Pinhead)

Thanks for your help, sir.

GUY

No.

(beat as he pulls his sunglasses down, exposing his black, soulless eyes)

Thank you.

CLAYTON recoils at the site and blinks. When he blinks, he's alone. The guys is gone. Freaked out, CLAYTON steps backward from the storefront and back to this car. He gets in, starts it up, and pulls away as we pan toward the sky -or- zoom back into the empty building for a black out.

CREDITS!

As soon as the credits are over…

35\. BLACK SCREEN, but STRINGING OF THE PUPPETS music track opens.

ZACK's VOICE (STAKE's human form)

What's your pleasure, Mr. Hoffman?

ANOTHER VOICE (Mr. HOFFMAN)

The box.

(beat)

The lament configuration.

CUT INTO:

EXT - A WOODEN TABLE - DAY

We see the box in the foreground, inches behind it is a hand, fingers slowly wrapping the table.

ZACK

Do you know what it is?

HOFFMAN

Yes.

We begin an orbit with the camera around the two of them, around the table, keeping the box center in the screen.

ZACK

Are you certain? You will see things that you will wish you had not.

We pass behind STAKE's head, we see he's wearing a leather ball cap with the silver suspension wire going over it in two places, and the cenobite paddle running up the back of his head, beneath the ball cap.

HOFFMAN

Yeah. That's nothing new. I've already seen lots I wish I didn't.

(beat)

I've been through Hell.

ZACK

(grunts)

Have you, now.

(beat)

Are you willing to pay the price?

HOFFMAN pulls a stack of money and set it down beside the box.

ZACK

No. The price is _much _higher, but you'll learn that. They all do.

(beat)

Do you accept what may come from the box?

HOFFMAN plops down another stack of money, and STAKE flares his hands out a bit off the table and dips his head slightly.

ZACK (cont'd)

As you wish.

CUT back to the box. STAKE places his hand on top of the box and carefully pushes it to the center of the table with his dexterity-gloved hands.

ZACK (cont'd)

The box is yours.

HOFFMAN places his hand on the box and lifts it away. As he clears the shot, we CUT back to ZACK. He picks up his cup and takes a sip. He sets it back down and swallows.

ZACK (cont'd)

It always was.

-fin-

Summery:

As a little insight, I thought I would give you a little bit of info as to what got the story to this point. When I wrote this story, it was because someone did something to a buddy of mine that made me want to...well, go Pinhead on him.

Then, as I thought about it, I thought it might even be possible to do a haunted house-type scenario with Pinhead and associated guys. Then, I thought that if we could do that, then why not do a movie? So, then blossomed a script that could stand on its own. Now, all the way to the version 3 region, we have what I hope will be a relatively short story. My intention is not to do a full-length movie. That would just be too much.

I wanted this to be different than the same old Hellraiser story, you know, Pinhead wants someone so he engineers circumstances so they would get it. I tried to think of what would be different, something other than what we had all already seen in the previous six (at the time) movies. I thought, "what about instead of Pinhead going after someone like a predator, the box was in transit to the real target when the main character comes in and steals it."

Oooo. This begs questions. Well, Pinhead wants the original target. So, he tries to get the character away from the box, allowing for it to go where it needs to go. This thought was intriguing to me. Pinhead has someone who wants the box, but he does not what the guy...hmmm.

Intriguing. What would Pinhead do in this situation? Would he communicate with this guy? If so, how would he do it? How direct would he be? How would the laws of Hell bind him? What would the laws of Hell be in this case? Would Pinhead visit the character before he opened the box? Could he even do that? How would Pinhead know the box was off its course, or would he even know? Would we see Pinhead in is lair, if so, what would his lair look like? You know, all these questions poured into my mind.

Well, then came the research. There was surprisingly more unconfirmed stuff out there (stuff not of the original lore) than confirmed, so I had to really wade through it to see what could be used and what should be. I hope I did a good job, and I hope it's better on the screen than on the page. If it is, then, it would just kick so much ass.

Thanks for reading.


End file.
